Theatre Talk: In Our Own Little Corner

[aradia22]

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The New York Times has reported that The Nederlander Organization will be renaming the Brooks Atkinson Theatre for Lena Horne. Horne will be the first black woman to have a theater named after her.

https://www.broadwayworld.com/article/Brooks-Atkinson-Theatre-to-Be-Renamed-for-Lena-Horne-First-Broadway-Theatre-to-Be-Named-After-a-Black-Woman-20220609

[aradia22]

I saw How I Learned to Drive at the end of May so a fair ways into the run. I did not take a lot of notes after the performance which will affect this review but, in a way, that's a comment of its own. 

I have not seen the play in any other incarnation. I think you always have to acknowledge that a revival of a play was written in a certain societal context and it might not have the same impact, for example, because of how conversations have evolved in the intervening time and because of what people have become more emboldened to say inside the theater and outside of it. Putting this aside, I do think the combination of the memory play structure, the comedy, and the ages of the lead actors did diminish the impact and severity of a lot of the play, though it still managed to hit at its most extreme/intense moments.

Spoiler

I thought some of the strongest scenes were when Li'l Bit hooks up with a high school (?) student, the monologue where Uncle Peck's wife defends him, the scene where Li'l Bit returns from college and Peck tries to propose to her, and the scene where we flash back to Li'l Bit (played by Alyssa May Gold) was first molested by her uncle in the car. 

The show made the decision to use Chris Meyers and Alyssa May Gold as its ensemble (mainly playing the grandparents but also a waiter at the restaurant, etc.) I don't think it quite worked. As I noted, two of their scenes were among the strongest but they were the scenes where they were both playing younger. Chris plays the kid Li'l Bit meets on the bus and Alyssa plays a young Li'l Bit for one scene. But it felt very artificial and almost silly when they were playing the grandparents. I don't know if there was even an attempt at authenticity... or acting, when they were playing older characters. And while I wouldn't call Mary-Louise Parker or David Morse terrible in their parts, I did not find their performances as much of a revelation as others have. And I was in a good orchestra seat. As with Kimberly Akimbo, I did not see Parker magically de-age or convey the sensibility of a teenager. It was solid but it wasn't remarkable and it was still very affected. It was an acting of affectation and not naturalism, which is fine for the theater but I didn't see her transform before my eyes and I do think some scenes might have played better with a younger actress. I do understand all of the fuss that's been made about Morse's character being sympathetic but I just felt really distanced from a lot of the early scenes and then towards the end, many of his scenes are just harrowing. The scene at Thanksgiving (?) when he's washing the dishes is probably the closest I came to feeling some sympathy for his mental health struggles but I think I was too distanced from most of those early scenes of bonding and too clicked in to the predatory behavior because the bus scene was one of the ones I responded to the most. I kept seeing Peck manipulating Li'l Bit after seeing Li'l Bit openly discuss how she knew things would play out with that boy. 

I also didn't leave infatuated with Johanna Day's performance as others have. Again, it was fine. She did good work with that monologue defending Peck (as his wife) and she was funny in that whole bit where Li'l Bit's mom intrudes to give drinking advice. But I wasn't like "oh, yeah, this definitely merits a Tony Award."

I'm glad I saw it. It was not a bad night at the theater. Now I have some familiarity with the play. But I could have lived without seeing it and I think the rapturous reports are a little exaggerated. It was a good, solid production with the ages of all the actors sometimes diminishing the effect of the script. I would rank it as solidly "okay."

[Lady Whistleup]

Thanks for your thoughts @aradia22. I can see what you mean, but I thought that the casualness of some of Peck and Lil Bit's interactions made it even more chilling when you moved back in time and you realized the length of the relationship.

I also thought David Morse was magnificent. MLP great but a little less remarkable.

[aradia22]

@Lady Whistleup It's not like I wanted to watch Lolita, My Love, but I think for me it was like seeing the NYCC Into the Woods with Little Red and Jack played by older actors. I got the points being made but it didn't feel as striking even compared to the scenes with Chris and Alyssa as their younger characters. Alyssa could play young in a way Mary-Louise Parker just couldn't. The hotel room scene got me because it was SO much but the other scenes couldn't reach me in the same way. I felt the discomfort of seeing a woman being harassed but not the sickening feeling of watching a child being abused. 

I won't argue with anyone who enjoys the play or this production but I think I probably would have liked it more if I could have seen the original production. For me, nothing was added by having the actors revisit the roles after so much time. 

[Jane Tuesday]

On 6/8/2022 at 8:33 PM, Spartan Girl said:

Come From Away will be great for community theaters.

True! I'm hoping my community theater does it soon. I'd love to play Beverly/Annette. ("Me and the Sky" is my go-to audition song.)

I might try to make it back to Broadway to see it before it closes. 

[Spartan Girl]

Saw my last theater show for the season, Ain’t Too Proud: The Life and Times of the Temptations. I loved it! Not ashamed to admit that I was singing along to some of the songs. I’ve seen bits and pieces of the VH1 biopic movie/miniseries for background, so I knew about David Ruffin crashing concerts after he got kicked out of the band.

The only downside is I couldn’t buy the soundtrack at the souvenir stand because due to stupid supply chain issues, it’s sold out. But now I’ve got “Papa Was A Rollin’ Stone” in my head.

Cannot stress enough how happy I was to go to musical shows again this year. I can’t wait til next season.

Edited June 12, 2022 by Spartan Girl

[aradia22]

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Company, which is the most honored musical of the Broadway season receiving every major award for Best Musical Revival including the 2022 Tony Award, will play its final performance at the Bernard B. Jacobs Theatre on Sunday, July 31 at 2 PM. A North American tour of Company is planned for the 2023-2024 season.

When it ends its run on July 31, Company will have played 300 performances (268 regular performances and 32 preview performances).

https://www.broadwayworld.com/article/COMPANY-Sets-Summer-Closing-on-Broadway-Show-to-Tour-in-2023-24-20220621

Well, guess I'm not seeing Company. I did get a ticket for the Broadway transfer of Into the Woods but I'm not seeing any more Broadway shows in the new maskless, no vaccine Broadway reality until I have a better sense of the risks.

[Scott]

17 hours ago, aradia22 said:

Well, guess I'm not seeing Company.

Well, damn, same here.  Had tickets for my trip in August.  I guess whatever bump they got from the Tonys wasn't what they wanted.

[aradia22]

[SomeTameGazelle]

On 12/6/2021 at 4:50 PM, SomeTameGazelle said:

have also read a couple of reviews that have reassured me that & Juliet does cater to some of my interests.

I have now seen & Juliet. I would not discourage anyone from seeing it if they like Max Martin songs, girl power, and gentle queer romance. I would say it met my expectations but did not exceed them, for two main reasons: 

Part of what attracted me to the show was the concept that Shakespeare and Anne Hathaway were writing Juliet a new story. My taste would have leaned toward seeing some real theatre jokes, but the "writing" is essentially a magical conceit: the people in Juliet's story are always in character even though it is also supposed to be the first performance of R & J. I didn't have a problem with this choice; it was internally consistent and served its purpose.

I had imagined that even though this type of pop is not my jam I would instantly recognize at least 80% of the songs and probably know the singer of the chart version, but it felt like it was more like 10%. There were at least 3 songs where I spent a long time wondering "Is this Firework? I think they would have got to a lyric I recognize by now if it were." (As far as I can tell Firework is not even Max Martin). 

The plot was entertaining enough, although I could have done with just a little bit more depth (not a lot, not to upset the overall balance) in some areas. The cast was good (even if the songs started to feel very same-y and just a trifle too loud for me) and I laughed at several jokes. 

Speaking of Shakespeare, if I ever get the chance to see Something Rotten I will absolutely jump at it.

[Spartan Girl]

On 6/24/2022 at 5:37 PM, SomeTameGazelle said:

Speaking of Shakespeare, if I ever get the chance to see Something Rotten I will absolutely jump at it.

Definitely. It’s a hilarious show.

I really hope touring productions are going to keep the mask requirements in their contracts.

[EtheltoTillie]

On 6/5/2022 at 6:38 PM, aradia22 said:

Full disclosure, I'm not entirely in the mood to write this but I figured I might as well get some thoughts down and come back to edit or add to this post later. I saw The Bedwetter last week, a musical at The Atlantic based on Sarah Silverman's life/autobiography. I did not read the autobiography and though I am a standup fan, I never got into her comedy because around the time her show was on, it felt too "edgy" (read: racist) for me to want to engage with it. But I went into the show wanting to see Adam Schlesinger's last musical and see Bebe Neuwirth on stage for the first time. (I've been watching a lot of youtube clips in quarantine... especially the concert performances from Sweet Charity.)

  Hide contents

After a week, I have to say it was enjoyable but forgettable. I don't know if there's a meaningful show inside there. Even though it has some bad words and grazes up against heavy topics, the core of the show and its sensibility is really rooted in children's theater. It's a coming of age story about a 10-year-old with a lot going on around her but ultimately she does not have a lot going on. Her direct problems are the bedwetting and depression in response to the adults' problems and the show doesn't take that extra step like Fun Home or Caroline, or Change to give it the benefit of an adult perspective of someone looking back. It isn't contextualized any further than as Sarah Silverman's origin story as a comic.

I say this a lot but I do think this is a show that has tone problems and would benefit from stronger direction. It wasn't egregious but I really started to sense it in act 2. It started to click how certain numbers were actually not bad on paper but played awkwardly in the theater (vs. on a show like Crazy Ex-Girlfriend) or how they just weren't nailing it in the performance. For example, there's a song from the doctor who prescribes Xanax and I could sense what they were going for and it was still good and one of the stronger songs, but that number should have been a knockout. It should have played like something from The Producers. But comedy requires a deft hand. They also create a device out of Miss New Hampshire (yes, I mean a beauty pageant contestant). It ends up being a good choice but I wish it were even more camp and that the rest of the show met that level of crazy and fantasy. Instead, we get some heavy numbers that almost feel like a play, but they again, they fail to capture the pathos of Fun Home or Caroline, or Change. It seems out of the creatives' wheelhouses and even the goal of this project, which again, feels very simplistic at heart. 

I think the strength of that simplicity is that, unlike Kimberly Akimbo, this show manages to stick the landing. The last few minutes when Sarah takes the stage to perform standup are fantastic. It wraps you in that easy moral of everybody's weird so you're not weird and believe in yourself and all that jazz. And while it's certainly no "That Thing You Do," I can still hum a phrase from the finale song. Overall, I'd say there are musical standouts but I didn't quite understand where they were going with the pastiche. Like Caissie Levy (Sarah's mom) has this song about her depression and how Sarah's parents were when they first got married. And it has a doo-doo-doo chorus that I guess is supposed to be comforting to her daughters like any singalong but it feels like a weird choice to go for this easy-going 60's pastiche for such a heavy topic. There are a lot of choices like that. But then you get a number like the dad's song about f**king all the neighborhood moms and you realize how good the show could be if it could nail that level of comedic sensibility consistently. I would not say that there were showstopper vocals in the show (it's not really that kind of show even if someone is singing well) but in addition to the finale and the dad's song, I liked "I Couldn't Agree More" which is Sarah's song that finally wins over the popular girls (it's the first good number in the show), Bebe's solo about appreciating Sarah's good qualities (even if she's the only one), and the teacher's solo (I think it was about the talent show). 

As for the performances... everybody's good though some people don't have a lot to work with or what they have isn't really pitched to their strengths. I don't want to criticize child actors too much but I found the lead a little... much. I was in the front row so it might read better from further back (and further from the mics) but she was not shrill, but... sharp. She played Sarah like a second-rate Annie and I've just come to expect more nuance from child actors. (It is possible that her mic and the mic of the actor playing the doctor were just not adjusted properly that night because I found them both much louder than everyone else.) I found the actor who played Sarah's sister Laura much more charismatic and a better match for Sarah herself but obviously she was too old to pass for 10. Caissie did get a tear out of me but I don't think the character of Sarah's mom was written that well or really got great songs. She was trying to mine that part for something but again, a lot of it was stuck the heavy drama parts of the show that weren't as good. I'd say her best moment is the speech where she stands up for Sarah (and kind of herself) arguing that she doesn't need to be fixed. It was also nice when she managed to make it out of the house to the talent show. The guy playing Sarah's dad was a solid actor. He had that one good solo and he has a nice moment later in the show at the hospital where he makes an effort to talk to Sarah on her level and understand what she's feeling. I actually think the supporting cast is the strongest part of the show. One actress' main role is Miss New Hampshire, another mainly plays Sarah's teacher, and a male actor is the doctor/psychiatrist. But they also cover other roles and bring a lot of the humor and camp and life to the show, capably switching between bit parts. Bebe is a goddess and this show doesn't deserve her. There's a bit about an accident in the past and the death of Sarah's brother, but like with Caissie, because that part of the show doesn't really work, it doesn't carry much weight. So most of the show is just her being a fun functional alcoholic and mostly supportive grandma. (I do have to point out to circle back to the racism that they really skirt the line with a long bit about Genghis Khan. Grandma just gets stuck on explaining to Sarah why there are Ashkenazi Jews with "Asian eyes" because of all the "raping and pillaging" and I do think they keep the joke on her ignorance and not anything hateful but it goes on for too long and I don't know why it's in the show. It's very unnecessary.) Overall, while the show has bright spots of humor, compared to other musicals at the Atlantic, I found Kimberly Akimbo, and even The Band's Visit, much funnier. I think the problem for me was rooting so much of it in a 10-year-old's perspective. There's a lot of bad language but there isn't strong joke construction underneath it. A lot of the show does feel like you're with a 5th grader expecting you to laugh at funny words without any jokes. It's not great when I prefer the fart sounds to the jokes in the book (and I don't like bathroom humor) just because at least the actresses get to be charming while a lot of the normal "jokes" in the dialogue fall flat. 

As for the design, I found the set very busy. It felt like pieces were constantly moving and unlike Kimberly Akimbo, it was all a little cobbled together and it looked cheap. Like, KA could feel a little claustrophobic with the rooms of the house moving in and out but they felt like rooms. The Bedwetter felt like there were always walls moving into place and outside of the school and the one decent house setup, the stage was often distractingly bare. It didn't point to a strong sense of design. Like, I didn't need a lot from the Falsettos revival because that show committed to its vision. I do think this show was very strong on its period costumes which you don't always see for a relatively contemporary decade.

I finally saw this today, and I guess I liked it better than you did. It’s no Fun Home, but it had its moments. I agree with many of your comments, but I think I came away with more of an overall positive view. I came out humming the title song. Feel so bad about the death of the composer, as he would have had so much more to give. 

[aradia22]

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I came out humming the title song.

It's so catchy 😄 

Happy to hear you enjoyed the show. I do think there's something there but it needs a dramaturg and a better director.

[Dr.OO7]

Kanisha Marie Feliciano's debut as Broadway's second black/first Latina Christine. Just audio, however:

[aradia22]

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The Lincoln Center Theater production of Lerner & Loewe’s Camelot with a new book by Aaron Sorkin will arrive on Broadway next spring rather than this fall, producers announced today.

Camelot, which will reteam Sorkin (who is writing the book based on the original Alan Jay Lerner book) with his To Kill A Mockingbird director Bartlett Sher, will now begin previews at Lincoln Center’s Vivian Beaumont Theater on Thursday, March 9, 2023, with an official opening on Thursday, April 13, 2023.

The production previously had been set to begin performances this November. No reason was given for the rescheduling.

https://deadline.com/2022/06/aaron-sorkin-camelot-broadway-postponed-spring-2023-1235054110/

[justmehere]

News:

https://deadline.com/2022/07/beanie-feldstein-leaving-funny-girl-broadway-1235061150/

(end of July) - and a review:

https://deadline.com/2022/07/into-the-woods-broadway-review-1235061007/

[aradia22]

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The rumors are true: Lea Michele is replacing Beanie Feldstein in Broadway’s revival of “Funny Girl.”

Feldstein on Sunday night announced she would be leaving the show on July 31, roughly two months before she was slated to depart the production. She attributed her early exit to a decision by the production “to take the show in a different direction.”

Michele will assume the role of Fanny Brice on Sept. 6. In the interim, Julie Benko will perform the title role from Aug. 2 through Sept. 4 and every Thursday beginning on Sept. 8.

Jane Lynch, who plays Mrs. Brice, is also leaving the production earlier than expected and will be replaced by Tovah Feldshuh (“Yentl”) starting on Sept. 6.

https://variety.com/2022/theater/news/lea-michele-broadway-funny-girl-beanie-feldstein-1235307379/

This has been rumored for a while, but now we KNOW.

[Spartan Girl]

Was there no one else that could do the part? Literally anyone in the world?!

[aradia22]

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The Tony-nominated musical comedy, Mr. Saturday Night, starring Tony and Emmy Award winner Billy Crystal, will play through its announced on-sale date and will conclude its Broadway run on September 4, 2022.

https://www.broadwayworld.com/article/MR-SATURDAY-NIGHT-Will-Close-On-Broadway-In-September-20220717

I feel like I keep posting about closings. Maybe I'll watch some operas off the DVR and ramble about them until the next season starts.

[aradia22]

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PBS Great Performances has announced that the filmed capture of Intimate Apparel will air on Friday, Sept. 23, 9:00 p.m. ET.

Ooh! I didn't love it but still, exciting. I can see if the lead actress brings anything different (I saw the understudy). And you can see how hot Justin Austin is. 

[dbklmt]

I had the pleasure of seeing Broadway bound Lempicka at the La Jolla Playhouse this past weekend.  It was a Musical Masterpiece of Art, visually stunning with a cast of amazing voices that sang magnificent songs.

This musical explores the art and complicated life of 1920’s and ‘30’s Polish-Russian Art Deco painter Tamara de Lempicka.  She was a celebrated artist who mingled with European aristocrats and became known as the “baroness with the brush”.

The musical’s book, lyrics and concept are by playwright Carson Kreitzer with book and music by composer Matt Gould.  This production is not the same that was done at Williamstown, MA.  They used another text for the book and additional songs were added to what is a really long musical--over three hours with a 15 minute intermission, but I loved every minute of it.  

It’s director is Rachel Chavkin, who won the 2019 Tony Award for her direction of the musical “Hadestown.”  I see another Tony in her future!

Two reasons why Lempicka is not better known today are her gender and her rather notorious personal life.  Lempicka was openly bisexual and famously painted some of her female lovers, including Rafaela Fano and Suzy Solidor, both of which we meet in the musical.  

Her first husband, Baron Tadeusz Lempicki, divorced her in 1930 over her serial affairs.  She was also a neglectful mother--shown in the musical--and had a strong and forceful personality, qualities art historians might have overlooked in a male artist.  They dismissed her as Deco, which was this diminutive term that’s been attached to women and women of color because their style or their form doesn’t conform to the ’great man theory’ of visual art.

The musical’s central characters are:

• Lempicka (played superbly by Eden Espinosa).  There's a Tony nomination in her future.
• her husband Tadeusz (played by Andrew Samonsky)
• and her lover and muse Rafaela (played by Ximone Rose who did the last two weeks of shows in La Jolla).  When it comes to Broadway Rafaela will be played by Amber Iman. 

The musical covered the great moments of transition in Lempicka’s life, including the flight from Russia to Paris, the choices Lempicka made to follow her artistic and romantic muse at great cost, and her decision to leave Paris with her second husband as the Nazis closed in.  Told through a wonderful pop-infused score which was really loud, Lempicka boldly explored the contradictions of a world in crisis, a woman ahead of her era, and an artist whose time had finally come.

The cast featured an excellent group of singers who got their moments to shine with solos:

• George Abud as Marinetti and his song, Perfection brought down the house and I see a Tony nomination, no, a Tony win in his future. 😊  
• Natalie Joy Johnson was excellent as a lesbian singer in a nightclub where Tamara and Rafaela first meet.  She has a song in Act 2 at Le Moncle, a Queer Parisian nightclub, Woman that’s a belter which also brought down the house. 😊  
• Jacquelyn Ritz played the Baroness and had a beautiful Act 2 solo when she was dying that was heartbreaking and whose husband would marry Lempicka after she died.  
• Finally, Andrew Samonsky sang another belter about his life with Lempicki which also brought down the house!!

Chavkin is known for her multisensory sensibility, but she’s really outdone herself this time thanks to her design team and choreographer Raja Feather Kelly.  

The intense focus on revolution, change and the future--themes in the musical are represented in the angular lines and revolving set (Riccardo Hermandez)--Bravo! Bravo!  It was incredible!

The ever-spinning turntable stage featured fast-shifting angled scenery walls that served to highlight the most elaborate projection design that I've ever see, featuring old Nazi and Bolshevik photos, ads, newsreels, images of 1920's Paris and some of Lempicka's sensuous paintings and sketches.  It was a phantasmagoria of movement more than art.  Bravo to Bradley King and Peter Negrini.  There will be Tony's in their future.

Run, don't walk to see it when it opens on Broadway!

[aradia22]

I am lazy/busy so who knows when I will feel like writing down all my thoughts on the Broadway transfer of Into the Woods. For now, I will say that the cast changes and the venue change alter the show in both positive and negative ways but overall, it is still a fun time. I would recommend it if you didn't see the NYCC production. If you did see that production, I'd only go to this one if you're a rabid fan of Phillipa Soo and/or Joshua Henry (and potentially Cheyenne Jackson). Brian D'Arcy James and Patina Miller were fine (more on that later) but I would say overall their NYCC counterparts gave stronger performances. If you didn't see the NYCC production and you love Sara Bareilles, then the show is definitely worth it. Cole continues to be great. Julia was fine but I think that performance doesn't hold up to too many repeated viewings. Kennedy does a charming job with Milky White (and the birds!) Nancy Opel made me wish that part was bigger (or that she'd been cast as Jack's Mother or Cinderella's Mother/The Giantess instead) but because it is a minor role, I wouldn't go just for her. I did miss Ann Harada. 

[aradia22]

@dbklmt Thank you for the thorough review. I didn't realize George Abud, Natalie Joy Johnson, and Andrew Samonsky were also in the show. Those are the kinds of names that make a theater fan take notice. 

[aradia22]

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The Grammy-winning team behind an unofficial Bridgerton musical is being sued by Netflix in Washington, DC US District Court for infringement.

Songwriting duo Abigail Barlow and Emily Bear were the minds behind the popular adaptation of the hit television series. They staged a live concert of “The Unofficial Bridgerton Musical Album Live in Concert” at the Kennedy Center in Washington, DC earlier this week, selling out the venue.

Netflix originally hailed the concept when it debuted as a free online homage. But when that expanded into a profitable business, things became sticky.

“Defendants Abigail Barlow and Emily Bear and their companies (“Barlow & Bear”) have taken valuable intellectual property from the Netflix original series Bridgerton to build an international brand for themselves,” the lawsuit stated. “Bridgerton reflects the creative work and hard- earned success of hundreds of artists and Netflix employees. Netflix owns the exclusive right to create Bridgerton songs, musicals, or any other derivative works based on Bridgerton. Barlow & Bear cannot take that right—made valuable by others’ hard work—for themselves, without permission. Yet that is exactly what they have done.”

Netflix claims it made “repeated objection” to the stage show, which sold tickets ranging up to $149 each. VIP packages were even more expensive.

The live show featured more than a dozen songs that allegedly copied verbatim dialogue, character traits and expression, and other elements from Bridgerton the series.

“Throughout the performance, Barlow & Bear misrepresented to the audience that they were using Netflix’s BRIDGERTON trademark “with Permission,” the lawsuit further states.

The lawsuit also notes that in addition to the Grammy-winning album, the pair plans to tour, with a date in London’s Royal Albert Hall upcoming. There are also allegedly plans for a line of merchandise, the suit claims.

Quote

Netflix Statement:  

“Netflix supports fan-generated content, but Barlow & Bear have taken this many steps further, seeking to create multiple revenue streams for themselves without formal permission to utilize the Bridgerton IP. We’ve tried hard to work with Barlow & Bear, and they have refused to cooperate.  The creators, cast, writers and crew have poured their hearts and souls into Bridgerton, and we’re taking action to protect their rights.” – a Netflix spokesperson

Shonda Rhimes Statement:

“There is so much joy in seeing audiences fall in love with Bridgerton and watching the creative ways they express their fandom.  What started as a fun celebration by Barlow & Bear on social media has turned into the blatant taking of intellectual property solely for Barlow & Bear’s financial benefit.  This property was created by Julia Quinn and brought to life on screen through the hard work of countless individuals. Just as Barlow & Bear would not allow others to appropriate their IP for profit, Netflix cannot stand by and allow Barlow & Bear to do the same with Bridgerton.” -Shonda Rhimes

Julia Quinn Statement: 

 “Abigail Barlow and Emily Bear are wildly talented, and I was flattered and delighted when they began composing Bridgerton songs and sharing with other fans on TikTok. There is a difference, however, between composing on TikTok and recording and performing for commercial gain. I would hope that Barlow & Bear, who share my position as independent creative professionals, understand the need to protect other professionals’ intellectual property, including the characters and stories I created in the Bridgerton novels over twenty years ago.” -Julia Quinn 

https://deadline.com/2022/07/netflix-sues-bridgerton-the-musical-creators-for-infringement-1235081610/

THE AUDACITY

[Luckylyn]

A deep dive into the Bridgerton musical drama

I can’t really feel bad for Barlow and Bear in this situation since Netflix repeatedly notified them what lines could and could not be crossed even offering them a license at one point which Bear and Barlow turned down.

Netflix allowed free distribution of the songs online.  They refused to give official permission for a live charity concert but agreed to look the other way if it was a one time charity event.   They made it clear they would not accept anything beyond that.  Once Bear and Barlow went the root of doing a for profit concert at the Kennedy Center, sold merchandise, and got a Spotify contract they were in violation of what Netflix said they would tolerate.  It’s particularly interesting that Netflix was open to compromise by giving them a license and they said no.  I wonder what terms Netflix offered that they considered so bad that they’d rather deal with the expense of a lawsuit.  Why didn’t they rework the show as a parody which would have given them some legal protection?  Why didn’t they do what EL James did with her Twilight fanfic “Master of the Universe” when she decided to profit from it and changed it into “50 Shades of Grey” to avoid getting sued?  Why not just do the Charity concert and use that publicity to get more attention to their original work?  Why so blatantly violate the copyright/trademark?  Why lie on the program that they had Netflix’s permission?  Did the Kennedy Center know the performance was completely unauthorized or were they lied to?

[aradia22]

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The John F. Kennedy Center for the Performing Arts has just announced initial casting for its Broadway Center Stage production of Guys and Dolls. Helmed by Marc Bruni (Beautiful, 50 Years of Broadway at the Kennedy Center, Broadway Center Stage: The Music Man), the all-star cast will be led by Tony Award® winner James Monroe Iglehart (Aladdin, Hamilton, 50 Years of Broadway at the Kennedy Center) as Nathan Detroit, Tony Award® winner Jessie Mueller (The Minutes, Waitress, Broadway Center Stage: The Music Man) as Miss Adelaide, Steven Pasquale (The Bridges of Madison County, Junk) as Sky Masterson, and Tony Award® nominee and Grammy Award® winner Phillipa Soo (Into the Woods, Hamilton) as Sarah Brown. Guys and Dolls plays the Kennedy Center's Eisenhower Theater, October 7 - 16, 2022. 

https://www.broadwayworld.com/article/James-Monroe-Iglehart-Phillipa-Soo-Steven-Pasquale-Jessie-Mueller-Will-Lead-GUYS-AND-DOLLS-at-the-Kennedy-Center-20220802

I hope someone can report back on this. I'm so curious. Maybe it's his recent roles but Pasquale seems to have too much edge for Sky Masterson. Can he dial it back or will he play it more criminal and nefarious? I don't really see Jessie as an Adelaide but I'm sure she'll be fine. Same with Iglehart. Soo is the only one I can picture perfectly in her role, even if she hasn't been doing these kinds of classic revivals. 

[ebk57]

4 hours ago, aradia22 said:

https://www.broadwayworld.com/article/James-Monroe-Iglehart-Phillipa-Soo-Steven-Pasquale-Jessie-Mueller-Will-Lead-GUYS-AND-DOLLS-at-the-Kennedy-Center-20220802

I hope someone can report back on this. I'm so curious. Maybe it's his recent roles but Pasquale seems to have too much edge for Sky Masterson. Can he dial it back or will he play it more criminal and nefarious? I don't really see Jessie as an Adelaide but I'm sure she'll be fine. Same with Iglehart. Soo is the only one I can picture perfectly in her role, even if she hasn't been doing these kinds of classic revivals. 

Someone remind me to get tickets Friday morning when they go on sale.  Please. 

[ebk57]

No thanks to anyone here (kidding...), I got tickets!  And, it looks like the other 2 productions are now available as part of a 3 show subscription.  So I need to decide whether to see A Soldier's Play or 1776.  But I don't think I have to decide today. 

[Luckylyn]

I just saw Titanique the musical parody of Titanic and it was hilarious. https://titaniquemusical.com

[aradia22]

I really want to see Titanique... I've been aware of it for so long and I considered paying for it when it was streaming as well. 

@Luckylyn What were the covid protocols like? I don't have an ID right now for vaccination card checks. Also, were a lot of people eating/drinking?

I was pretty committed to having Into the Woods be my last show until the fall. And I'm still open to cancelling my fall/winter opera and Carnegie Hall plans if need be.

[Luckylyn]

10 hours ago, aradia22 said:

I really want to see Titanique... I've been aware of it for so long and I considered paying for it when it was streaming as well. 

@Luckylyn What were the covid protocols like? I don't have an ID right now for vaccination card checks. Also, were a lot of people eating/drinking?

I was pretty committed to having Into the Woods be my last show until the fall. And I'm still open to cancelling my fall/winter opera and Carnegie Hall plans if need be.

Vaccination wasn’t required but masks were mandatory.   Titanique is closing towards the end of September.

[aradia22]

Quote

Grammy and Oscar winner Melissa Etheridge’s new solo show, Melissa Etheridge Off Broadway: My Window–A Journey Through Life, will play 12 performances at Off-Broadway's New World Stages beginning October 13.

My Window is written by Etheridge with additional material by Linda Wallem-Etheridge and direction by Amy Tinkham. Playing to an audience of less than 500 per show, Etheridge will offer theatregoers an evening of storytelling and music, from tales of her childhood in Kansas to her groundbreaking career highlights.

Tickets are available by exclusive pre-sale through Etheridge’s Fan Club and will go on sale to the general public August 17 at 10 AM ET at Telecharge.com. For more information visit MelissaEtheridge.com/MyWindow.

https://www.playbill.com/article/melissa-etheridge-to-bring-solo-show-to-off-broadways-new-world-stages

12 performances!?! So curious. As of now my ticket schedule doesn't get too crazy until December...

[aradia22]

Quote

Tony nominee Jonathan Groff and Tony winner Lindsay Mendez have opened the doors to joining the cast of New York Theatre Workshop’s Merrily We Roll Along as Franklin and Mary, respectively. They join the previously announced Daniel Radcliffe in the role of Franklin Shepard, Inc. decrier Charley.

https://www.vulture.com/2022/08/daniel-radcliffe-merrily-we-roll-along-cast-jonathan-groff-lindsay-mendez.html

[ebk57]

6 hours ago, aradia22 said:

https://www.vulture.com/2022/08/daniel-radcliffe-merrily-we-roll-along-cast-jonathan-groff-lindsay-mendez.html

So if I come up the first weekend in January, I can catch this and Death of a Salesman.  I need to plan... 

[aradia22]

Chaos. I wonder if they'll be able to rebuild the momentum they had right around closing when the leaked footage/Tony nominations generated a lot of press.

Quote

As scooped by BroadwayWorld, the Tony Award-winning revival of TAKE ME OUT will return to Broadway on Thursday, October 27 at the Schoenfeld Theatre. Written by Richard Greenberg and directed by Scott Ellis, TAKE ME OUT opened in spring 2022 to rave reviews and went on to garner four Tony Award nominations, winning Best Revival of a Play and Best Featured Actor in a Play for Jesse Tyler Ferguson.

TAKE ME OUT will return with Tony Award Nominee Jesse Williams and Tony Award Winner Jesse Tyler Ferguson. The remainder of the cast will be announced at a later date.

"Second Stage's Tony Award-winning production was one of the most buzzed about plays of the spring season, and its limited run was too brief to capture the interest and demand for tickets," said producer Barry Weissler.

"Fran and I are so honored to serve as pinch-hitters and take the show into extra innings. We were blown away when we saw it at the Hayes earlier this year under Scott Ellis' brilliant direction. After being big fans when the play premiered back in 2004, we were struck by how relevant and timely it continues to be. Richard Greenberg brilliantly uses the lens of America's favorite pastime to expose and explore the prejudices that divide us, but he strikes the perfect balance, managing to entertain as well as enlighten. In short, to borrow a line from the show, Fran and I 'have come to understand that baseball is a perfect metaphor for hope in a democratic society!'"

Tony Award ® winner Jesse Tyler Ferguson and Tony nominee Jesse Williams reprise their roles in this Tony-winning Best Play Revival, returning to Broadway for 14 weeks only!

[aradia22]

Quote

From the imagination of Tony Award-winning Hamilton choreographer ANDY BLANKENBUEHLER, featuring music by British pop sensation KATE NASH and a book co-written by TED MALAWER, comes an electrifying theatrical dance musical. In Only Gold, a royal family’s arrival in Paris sets a flurry of activity into motion, forcing nobility and townsfolk alike to examine the choices they’ve made. As loyalties and loves are tested, will they find the courage to follow their hearts?

Paris will never be the same.

What is this nonsense? I love Kate Nash. And who doesn't love Terrence Mann? But apparently this is a dance musical??? Also, that plot description makes it sound like Anyone Can Whistle or one of those more random flop musicals that get covered on If It Only Even Runs a Minute. Is it a period piece? Contemporary? Anyway, I will probably stick with general rush if I can convince myself to take the gamble.

Quote

GENERAL RUSH

$34 RUSH Tickets (inclusive of all fees) are available two hours prior to each curtain, subject to availability. Limit 2 per person.

[aradia22]

Quote

A new musical loosely based on Martin Scorsese’s 1977 film New York, New York will begin performances on Broadway, theater to be announced, in March 2023. Opening night will be in April, with Tony and Olivier Award winner Susan Stroman on board to direct and choreograph.

The show — of course it’s called New York, New York — will feature numbers written for the movie by legendary songwriting duo John Kander and Fred Ebb (Chicago, The Scottsboro Boys, Cabaret). Lin-Manuel Miranda (Hamilton) will write additional lyrics for new Kander tunes, Deadline has learned.

Four Kander and Ebb songs were used in Scorsese’s MGM film, including the fabled title track that will definitely feature big in the Broadway show.

Casting breakdowns for New York, New York were being issued today. The production is believed to have a cast of 31 and an orchestra of 19 musicians.

Producers Sonia Friedman (Harry Potter and the Cursed Child, The Ferryman) and Tom Kirdahy (Inheritance) have assigned David Thompson, a frequent Kander and Ebb collaborator (he worked with them on The Scottsboro Boys and Steel Pier) to write the book. Sharon Washington will co-write the show; Washington won acclaim for the solo stage show Feeding the Dragon which was subsequently produced as a successful audio play by Audible.

Other members of the creative team include Sam Davis, music supervision and arrangements; Daryl Waters and Davis, orchestrations; David Loud, vocal arrangements; and music direction by Alvin Hough Jr.

[...] It will still be set in postwar 1946, but the focus will be about a city in recovery, plus the casting and story will be inclusive.

https://deadline.com/2022/08/lin-manuel-miranda-new-york-new-york-musical-john-kander-1235099489/

[aradia22]

The bit for these videos is that one guy knows the lyrics and the other has to improvise his way through. I know Pomatter still compares Jenna to the waitress he knew, but honestly, this makes a solid point about why they replaced the song.

Baby thief has big Cop Rock energy

[aradia22]

I love that because Alex pronounces Houston (haus-ton) like Houston, Texas, Keith doesn't realize they're talking about New York.

[Luckylyn]

2 hours ago, aradia22 said:

The bit for these videos is that one guy knows the lyrics and the other has to improvise his way through. I know Pomatter still compares Jenna to the waitress he knew, but honestly, this makes a solid point about why they replaced the song.

Baby thief has big Cop Rock energy

KEITH!  I love the Try Guys YouTube channel.

 I saw Into the Woods on Broadway finally.  It’s one of my favorite musicals ever.  I watched the pro-shot of the original cast a million times growing up.  So my expectations were high.  I wasn’t disappointed.  It was such a great time.  The cast did a great job and I didn’t mind the bare bones staging.  One thing to movie didn’t get was the humor but this production had that perfect combination of heart and humor. 

[aradia22]

If I had any big complaint about this revival of Into the Woods it would be that a lot of the seriousness (Witch/Rapunzel relationship, Baker/Baker's wife relationship, Baker's character journey, Jack and Red as coming of age metaphors, etc.) was underplayed or disregarded to focus on the humor. Some of it was actually played for laughs. I think that was a valid choice for this production but there were parts of the text that were not fully illuminated and I didn't think NPH or BDJ really nailed the Baker. I'm curious how Montego will play the Witch as Heather and Patina both had their strong points but for me neither one wrapped her arms around the full character. I did think Ann Harada was stronger than her replacement with making you feel some of the darkness that is there. 

I came away pretty much only thinking that the Steward was an ass. They could have made some characters more unlikable, leaned into more complexity... but I had a very good time at both productions regardless. I agree the complaints about scale didn't bother me. If anything, I would have changed some of the costumes, but I didn't need a fancier set. 

[choclatechip45]

I saw Phantom for the first time and was left a bit confused? I don't know maybe it was not for me.

I also saw Come From Away which I have wanted to see before it closed and I am so happy I did! Such a great show! 

[aradia22]

I would almost say the press/art teams are finally doing something right but in that photo with the big yellow flower, it looks like that same hideous costume they put Beanie in. Soon we shall see what, if anything, they've changed. (Besides adding I'd Rather Be Blue Over You.)

https://ew.com/theater/lea-michele-as-fanny-brice-funny-girl-first-look/

[aradia22]

https://deadline.com/2022/09/lea-michele-funny-girl-broadway-ovations-jonathan-groff-1235109696/

Quote

At least four standing ovations before intermission. Sounds like Lea Michele’s first night as Fanny Brice in Funny Girl went, well, gleefully.

More ovations followed throughout the evening, including an extended and rousing one at the final curtain, with a sobbing Michele and co-star Tovah Feldshuh, also making her debut, accepting large bouquets of white roses.

Among those standing: Former Spring Awakening castmate Jonathan Groff, Glee creator Ryan Murphy and Harvey Fierstein, who added some new material to this musical revival. Also in attendance was Zachary Quinto. During the curtain call, Michele appeared to point to, and wave at, Groff.

Michele is making her public debut in the show tonight, and although critics won’t be in attendance until later this month, audience members are already taking to social media with reactions and accounts from the show. Sources at the August Wilson Theatre tell Deadline that Michele received her first standing ovation upon her entrance, and there were at least three more before the end of the first act.

Michele also apparently got a big laugh from one of the show’s more innocuous bits of dialogue – though given the crazy conspiracy rumors about her literacy, the quip was more than a little weighted: Early in the show, Fanny recalls growing up on Henry Street in Brooklyn, and notes, “I hadn’t read many books.”

Also making her debut in the show tonight was Feldshuh as Mrs. Brice. At one point during the curtain call, Feldshuh nudged a tearful Michele forward to stand alone, but Michele clasped hands with Feldshuh and pulled her along, drawing even more applause. Neither Michele nor Feldshuh gave curtain call speeches.

[aradia22]

Quote

A sea plane crash September 4 in Washington resulted in the tragic loss of Megan Hilty's sister Lauren, brother-in-law Ross Mickel, their child Remy Mickel, and their unborn baby Luca. ETonline reported the tragedy after receiving confirmation from the U.S. Coast Guard.

The family released the following statement, originally published by Seattle NBC affiliate KING 5:

"We are deeply saddened and beyond devastated at the loss of our beloved Ross Mickel, Lauren Hilty, Remy and their unborn baby boy, Luca. Our collective grief is unimaginable. They were a bright and shining light in the lives of everyone who knew them. Although their time with us was too short, we will carry their legacy forward. We want to thank all the first responders, emergency service agencies of Whidbey Island, Island County, the United States Coast Guard (USCG), Naval Air Station Whidbey Island (NASWI), and the private citizens who participated in the search and rescue efforts following the crash. The enormous outpouring and support we have received from our friends, family, and the public has been overwhelming. Our hearts go out to the families and friends of those who also lost loved ones on-board. At this difficult time, we are requesting that our privacy be respected as we grieve the loss of our family members."

Nine adults and one child were reportedly on the plane at the time of the crash off Whidbey Island, Washington, during its flight from Friday Harbor to Renton Municipal Airport. One deceased individual has been recovered so far, although the body has yet to be positively identified.

https://playbill.com/article/plane-crash-takes-lives-of-megan-hiltys-sister-and-her-family

[Spartan Girl]

That’s horrific. Poor Megan.

[aradia22]

[Spartan Girl]

The end of an era: Phantom to close on Broadway in 2023

Damn. I know it had to close someday but still. I wonder what will go into the Majestic Theater to fill the void?

[aradia22]

Whatever replaces it, I hope they do actual renovations on the theater before they move another show in. Remember Ben Crawford talking about the heat this summer? That was unacceptable.

https://www.reddit.com/r/Broadway/comments/w4gjv5/ben_crawford_aka_phantom_posts_about_the/

Edited September 16, 2022 by aradia22

[Dr.OO7]

3 hours ago, Spartan Girl said:

The end of an era: Phantom to close on Broadway in 2023

Damn. I know it had to close someday but still. I wonder what will go into the Majestic Theater to fill the void?

NOOOOO!!!! 😢😢😢😢😢