Well, this is certainly an interesting idea. Will Jayne Atkinson hop over the pond with her? If not, there are two choice roles for Janet McTeer and Harriet Walter to take on…
Angela Lansbury wants to come home to England to make what she believes will be her final stage appearance. The star is eager to bring a production of Noel Coward’s Blithe Spirit to the West End. She played the phoney old medium, Madame Arcati, with much gusto opposite Rupert Everett on Broadway earlier this year.
But the actress, now in her 84th year, is insistent that the comedy goes to the Theatre Royal, Haymarket, and only the Theatre Royal, Haymarket.
The reason? Ms Lansbury’s mother Moyna Macgill was also an actress, and performed on the West End stage, including the Haymarket, in the years before World War II.
Angela has told friends and associates that she doesn’t need to come to London (she certainly doesn’t need the money), but feels it would ‘complete the circle’ if she did Blithe Spirit at the Haymarket as a way of honouring her mother, and ending her stage career on a high note.
Blithe Spirit is a creaky comedy, but Madame Arcati is a bit of a laugh. Whenever Lansbury’s Arcati felt a ‘presence’, she did a dotty dance that changed nightly. At the Tony Awards, she explained her dance depended on how much energy she had that night.
The Haymarket management said it would love to have Blithe Spirit. ‘But it depends on how flexible Miss Lansbury is prepared to be,’ a spokesman for the theatre told me.
The Haymarket is busy with Waiting For Godot, starring Ian McKellen, Patrick Stewart, Simon Callow and Ronald Pickup, which runs until August 9. Anna Friel begins in Breakfast At Tiffany’s on September 9 and that’s scheduled to run until around next February. And there’s talk of The Three Sisters opening some time in 2010.
‘If there’s a slot, we’ll fit Blithe Spirit in. Angela Lansbury would sell a lot of tickets,’ added the spokesman.
Mr Everett, meanwhile, begins filming St Trinian’s: The Legend Of Fritton’s Gold soon and doesn’t plan to do Blithe Spirit in London.
There are certainly a variety of recordings of Gypsy on the market for discerning cast album collectors. Ethel Merman originated the role of Rose in 1959, Roz Russell scored the 1962 film adaptation. Angela Lansbury breathed life into the original London and first Broadway revival in 1973 & 74, respectively. Tyne Daly starred in the 1989 revival; Bernadette Peters in the 2003 revival and of course Patti LuPone in the recent 2008 production. Oh, and Bette Midler made the 1993 made for television adaptation. So even if you don’t count the horrendous Kay Medford studio cast album, that’s a lot of Gypsy.
If there is any one argument to be had, it’s over which actress is the definitive Rose. Every one of these leading ladies has had their share of vociferous champions as well as detractors. It’s just the nature of the beast. When it comes down to it, there are two recordings of Gypsy I listen to repeatedly: the original Broadway and original London albums.
Tyne Daly’s album is marred by the powers that be who insisted she record the score while suffering from laryngitis (don’t let the album – which Tyne herself has disowned – fool you: a trip to youtube shows you what a marvel she was in the part). I don’t feel that the most two recent albums fully captured what made Bernadette and Patti’s performances indelible (and the tempo and energy on the latter is surprisingly lacking). The two soundtrack albums offer very little in terms of musical enjoyment, unless you’re a fan of Lisa Kirk or Bette Midler.
While I love the London cast album for Angela Lansbury’s truly stunning turn as Rose, the recording of Gypsy to end all Gypsy‘s is the original Broadway cast recording with Miss Ethel Merman. The album was recorded May 24, 1959. As was the tradition for most musicals at the time, it was recorded on the first Sunday after opening. It was released a mere two weeks later and has been a must have for Broadway fans ever since.
The original album is definitive for three reasons: Ethel Merman, Milton Rosenstock and Dick Perry. Merman was a force of nature in the part, and though people have looked back on her performance as lacking, she is electrifying on the album. Rosenstock was the musical director and I’ve yet to hear a better Gypsy orchestra. Dick Perry was the second trumpet player on the show who became an in demand player for many musicals as a result of the showstopping improvisation during the overture. Styne insisted on Perry for the pits of many of his subsequent musicals and can be heard on the cast albums of Do Re Mi, Subways Are for Sleeping and most prominently in Funny Girl where he was the Cornet Man. Gypsy is widely considered to have the greatest overture in musical theatre, and its first recording has never been bettered.
There is also something about the way Goddard Lieberson recorded these big scores for Columbia records in the late 50s and 60s that is just so satisfying. While Lieberson took liberties with false lead-ins and endings and rarely recording dialogue, his albums are some of the best ever produced. He had a knack for producing and helped make Columbia the leader in original cast recordings, when show music was at the height of popular culture. Once he retired in the 70s, Thomas Shepard, who produced the remastering of this recording, became the leader over at RCA. But in terms of how it was recorded – everyone was in a large room and the performances were big and theatrical, truly capturing what it was like to hear the score in the theatre. There was a kineticism that is lacking on most contemporary cast albums. This energy is especially evident on Lieberson’s recordings such as Gypsy and for my money, the greatest cast album of a musical ever made, Mame.
In honor of the show’s 50th anniversary, Sony Masterworks has reissued the album in a brand new edition (its third CD release). The new release is pretty much the same as the ’99 release, with the noted addition of three tracks: a publisher’s demo of “Who Needs Him?” from 1959, Michael Feinstein’s brief interview with composer Jule Styne about working on the show and “Gypsy Rose Lee Recalls Burlesque.” The latter is one of those novelty items that has to be heard to be fully appreciated. The liner notes are reprinted verbatim from ’99, with the addition of a few new paragraphs that comment on the continuing popularity of the show, mentioning Bernadette and Patti in the process.
In lieu of a jewel case, the new release is in one of those trifold cardboard slimline cases, with an insert for the liner note booklet and another for the CD itself. The case itself recreates the original LP artwork, the liner notes recreates the collage of photos used for the LP reissue and first CD release. One in particular that I’ve never seen before but is a rather fun shot of Paul Wallace recording “All I Need is the Girl” with Sandra Church.
If you already have the ’99 Gypsy, the new release isn’t really necessary unless you’re a purist, such as myself. To those who don’t have it, I resist the urge to ask you what you’re waiting for and instead offer you linksfrom which you can purchase it.
My beloved Sarah just posted this video on Facebook and it had to be shared:
Here is Kate Baldwin singing “How Are Things in Glocca Morra?” fromthe Encores revival of Finian’s Rainbow. The production transfers to Broadway on October 8th, making it the 5th Encores concert to do so. The marquee is up and tickets are now on sale. Ms. Baldwin, Jim Norton and Cheyenne Jackson will be reprising their roles. Joining the cast is Christopher Fitzgerald as the leprechaun Og. We’ll be dropping back into Rainbow Valley, Missitucky to visit one of our favorite leading ladies.
I’m not sure why I didn’t delve into The Happy Time around the time I was first discovering Cabaret, Kiss of the Spider Woman, Woman of the Year and Chicago. John Kander and Fred Ebb made an indelible mark on Broadway, with a collaboration that spanned almost 40 years, producing some of the most respected musicals this side of the 20th century. Somehow when I was touching on the hits, I overlooked this 1968 gem.
To be honest,The Happy Timeisn’t a great musical. It suffers from (what else?) a weak libretto by N. Richard Nash that’s very loosely adapted from Samuel Taylor’s play. But Kander and Ebb wrote a score that is very much unlike any other they wrote. Their musical scores were usually edgier and grittier than most, delving into darker cynicism shaped by directorial concept. However, this one has a romanticism and lightness that if a far cry from a seedy Berlin nightclub, a Windy City or South American jail cell or an ice skating rink.
The story concerns a jet-setting, prodigal son photographer who returns to his French-Canadian hometown St. Pierre to reconnect with his family, turning their lives upside down. His curmudgeonly father continues to criticize – when not looking at his “dirty pictures,” while his nephew worships him. Meanwhile, he reconnects with a former love, who has grown into a practical, focus (read: grownup) schoolteacher.
The musical was produced by that Abominable Showman David Merrick and directed and choreographed by Gower Champion, who won Tonys for both assignments. Robert Goulet, who won his Best Actor Tony for his work here, starred alongside David Wayne and newcomer Michael Rupert. Julie Gregg was Goulet’s love interest and old pros George S. Irving and Charles Durning played Goulet’s brothers. The production opened at the Broadway Theatre on January 28, 1968 to decidedly mixed reviews. Many found favor with the actors, but great fault with the script. It closed after 286 performances and bears the distinction of being the first musical to lose a million dollar investment.
However, the show, though mired in relative obscurity, has found a new life in recent years. Goodspeed Opera House showcased the first revisal in 1980. A production at the Niagara University Theatre in 2002 enlisted Kander and Ebb to help further revise the book and score, restoring cut scenes and songs. The composing team declared this the definitive performance version of the show and was used in the 2007 Musicals in Mufti concert and the 2008 Signature Theatre revival in Virginia.
RCA recorded the original cast album which showcases what was so wonderful about the original production: its music and lyrics. Goulet gets the choicest material, notably the lilting title song that opens the show and the act two opener “Walking Among My Yesterdays,” the most beautiful song about nostalgia I have ever heard. Wayne charms with “The Life of the Party” and Rupert makes an auspicious Broadway debut with the charming “Please Stay” and the rousing “Without Me.” All three score with the eleven o’clock number “A Certain Girl,” which to my ear is about as close to Jerry Herman territory you’re likely to find Kander and Ebb. For those who are wondering, Goulet is at a vocal peak here; his confident and assured baritone ringing out quite clearly with none of the Vegas stylings for which he later became quite notorious.
Now, I’m not saying that The Happy Time is their best score, but it certainly ranks as my personal favorite. This original Broadway cast album gets more airplay than any other Kander & Ebb score. A little caveat: here’s a clip from the 1968 Tony Awards. Goulet sings the title song, then joins Wayne and Rupert on “A Certain Girl.” Ohhh, for the days when Tony performances lasted eight minutes… Enjoy.
We were there for opening night, we were there for Tony Tuesday so it was inevitable that we would be there for the final performance of Blithe Spirit (some of us went much more often than that). For the record, today marked my fourth and final trip to the Condomine residence.
However, the day got started at Thalia’s for some bloggers who brunch action. Steve and Doug, Esther, Chris, Sarah, Kari, Roxie, Jimmy, Alicia and myself gathered for the usual conversation over breakfast concoctions (make mine a mimosa any day). Even with the pleasure of reading everyone’s blogs, writing on someone’s Facebook wall or communicating via twitter, nothing beats gathering together at a table in a swank NY restaurant for the real thing.
Sarah, Kari, Roxie, Noah and I headed over to the Shubert for a sold-out matinee that featured yet another fizzy champagne afternoon. The crowd was electric, very much into the play and appreciative of the comedy. Some of the lines were rushed/dropped, but that didn’t hinder any of the enjoyment. Rupert Everett and Christine Ebersole were still problematic in their characterizations, but not so much to hinder from the experience. Susan Louise O’Connor is a star on the rise. Simon Jones and Deborah Rush gave the Bradman’s their final exercise in skepticism. Of course there was that devil-may-care Tony-winning performance of Angela Lansbury as Madame Arcati, a pro among pros who (if the rumors are true about her involvement in A Little Night Music in the fall) is certainly enjoying a late-career renaissance on Broadway, and deservedly so.
My admiration today, though, is reserved for Jayne Atkinson. Atkinson took the role of waspy Ruth, a stark contrast to the ethereal and immoral Elvira, and turned it into something extraordinary. Ruth usually provides a great comic angle, but mostly as a straight man to the lunacy and farce going on around her. To put it frankly, she’s rather bland on paper. Atkinson, though, created an indelible leading lady performance that was one of the most underrated treasures of the theatre season.
Today, especially, Atkinson’s Ruth seemed to shine ever-so-brightly. Finding even in the final performance truthful comedy that none of us had ever seen before (a riotous parody of Madame Arcati’s earlier trance dance). Droll, clipped, with some of the best listening and reacting I’ve ever seen in a comedy, she was nothing short of effervescent. For my money, she deserved a Best Actress in a Play nomination. But I do look forward to seeing what she does next. If she’s onstage in NY, you know we’ll be there.
After the show, the cast received flowers and continued to bow as the curtain came down and the house lights went up. And predictably enough, we went to Angus for post-show dinner and drinks, continuing to enjoy ourselves immensely on what was a most beautiful day in the city.
It’s rather late to put these out here, but here are some of the choicest quotes from the Lady Iris’ Annual Moon Lady Extravaganza, (SarahB’s annual Tony party, which is more fun than being in attendance as far as I’m concerned). These were all part of my live-twittering during the summer. There were a lot of other amazing things said, but you’ll have to ask the others to remember those…
“If he plays Unskinny Bop’ I’ll come unglued.” – Sarah, on seeing Brett Michaels in the Tony opening number
“Oh that’s me! And we’re both wearing sparkles!” – Sarah, on seeing her party namesake on the telecast (we were each assigned a Broadway favorite and had to drink upon seeing him or her, or in Kari’s case, them)
“I saw Lauren Graham in the ladies room!” – Christine “I peed next to her!!!” – Roxie
“They had a song off Broadway was that basically all the fuck word.” – SarahB on Next to Normal
“Whew, that was too much acting for me.” -Roxie, on Next to Normal’s Tony performance
“There’s a gay smackdown coming.” – Kari, on Steve and RivB’s differing POVs of Legally Blonde
“Harriet Walter broke our table!” – The Gathered Ensemble, but specifically Sarah & Kari
“I see this role wasn’t a stretch for Ripley.” – Me, on Alice Ripley geting all JFK on us
“Chandra Wilson? I thought it was Aretha without a hat.” – Christine
“What happened to the guy originated this part?” – Me, on Jersey Boys and John Lloyd Young “He became a mute.” – Sarah
“Those boys are underage, Elton… don’t try it!” – Sarah, while Billy Elliot collected Best Musical
Here is some rare footage from the original 1975 production of Chicago shot during a dress rehearsal, which includes a couple minutes of “Loopin’ the Loop,” the original finale that would be replaced by “Nowadays/Hot Honey Rag” (and whose theme remained in the show’s overture).
Walter Cronkite, once named the “most trusted man in America,” passed away yesterday at the age of 92 leaving behind an incredible legacy as a journalist and news anchor. Many other and more worthy news sites will be eulogizing the broadcasting legend, so I will leave that charge to them, but wanted to touch very briefly on his Broadway connection.
He and his late wife were avid theatregoers in New York; often seen on the red carpet at many opening nights on Broadway. His daughter-in-law is stage and screen actress Deborah Rush, who is currently on the boards as Mrs. Bradman in the revival of Blithe Spirit that closes tomorrow.
But I wanted to share this interesting tidbit from the TCM biography of Mr. Cronkite:
“Stephen Sondheim and James Lapine wanted Cronkite to play the Narrator role in their stage production, Into the Woods, but Cronkite declined. In 1995, he provided voice-overs, however, for the musical revival of How To Succeed in Business Without Really Trying, starring Matthew Broderick.”
I knew the latter piece of information, as Mr. Cronkite’s voice over narration is on the revival cast album, but I never knew the former.
“I haven’t brought you both here just for a tea party…”
Countess Aurelia wasn’t kidding! As some of you might be aware, I am part of the Independent Theater Bloggers Association. Some of you might not know that I volunteered to be its membership director. One of my first assignments was to get an acceptance speech from The Norman Conquests which was voted Best Revival of a Play by our organization.
In terms of getting the actual acceptance speech, I was pretty much clueless how to proceed so I dropped a note to the show’s press agency (those fantastic folks at Boneau/Bryan-Brown). They invited me down to Sardi’s for a brief farewell toast (with tea) for the cast, as the production ends its limited run on July 26 and the company of British actors make their way home.
So here’s another series of firsts! It was my first time at any sort of specific press function, which is surreal in itself, let me tell you. People are gathering with their fancy cameras and video equipment. There I am representing the blogosphere with the mighty flipcam, which I have to say is a blogger’s best friend. Unlike opening nights and red-carpet events, this one was considerably low-key. Everyone was relaxed and the atmosphere most congenial.
The brilliant and talented cast of six arrived at the fourth floor of Sardi’s (another first!) and stood for a quick group shot surrounded by windowcards, then they sat down for a cup of tea and freshly baked chocolate chip cookies (though it was commented that cucumber sandwiches would have been more traditional, SarahB we needed you!!) after which the cast signed several posters for BC/EFA.
Finally, it was time for me to get what I came for. I had traveled 50 miles on a mission to get 30 seconds worth of footage and come hell or high water I was going to get a damned good acceptance speech! Jessica Hynes was elected by the group to accept on their behalf. We moved ourselves to the corner by the bar to quickly film it.
Well it’s a wonder the camera wasn’t shaking as I stood there suppressing extreme laughter. I had no idea what Hynes was going to say and her speech took me completely by surprise. We got it all in one take and I continued to laugh myself silly. After getting out my fanboy appreciation for the hilarious Shaun of the Dead (she’s Yvonne!), the two of us talked for about twenty minutes about The Norman Conquests, the other shows playing (we zeroed in on God of Carnage and Reasons to be Pretty), comparing NY and London theatre and touching on, of all people, Patricia Routledge. She talked about what it was like to work in NY and the genuine appreciation at how the entire cast has been embraced by the Broadway community.
In those brief minutes she talked about the personal fulfillment she gets from performing live in the theatre, involving herself in the process of rehearsal and performance and how it’s one of the most satisfying aspects of her career. I asked if she’d like to come back to work onstage in NY and she said, “Oh, yes. Definitely!” I look forward to the opportunity to see all six onstage again.
The event lasted no more than 45 minutes, which gave me a chance to observe diligent press agents at work. Even more surreal were the show’s producers in attendance introducing themselves to me. Talk about a moment where I stopped and thought, “Wow, if they could see me now…”
Afterwards, I shared the elevator ride to the street with the three gracious and lovely leading ladies. It was a personal thrill to be able to tell them how much I enjoyed The Norman Conquests and the sort of exhilarating experience the marathon performances were like. I reminded Amelia Bullmore we had met at the Theatre Worlds awards and had had the opportunity to tell her then how much it meant to me (she remembered!) and then turned to Amanda Root and said, “We haven’t met yet, but I love you.”
I told them that myself and other bloggers were coming back to the last marathon and we discussed how lots of fans like to make a sort of pilgrimage to a final Broadway performance. Root told me I should also come to the second to last marathon, to which I replied, “Don’t tempt me.” It’s a show I would gladly go to again and again if I could.
When we got to the street, I thanked the actors for their excellent work and their time. It was Wednesday, so they were between shows, so I wished them well with their evening performance before heading home, freshly pumped with adrenaline and entirely smitten with the three charming actresses.
It was an invigorating way to spend an afternoon, with some of the most talented people on the boards in NY. And I implore you, if you’ve not had a chance to see The Norman Conquests at the Circle in the Square, get your tickets now. There are only three marathons left in the run, and that is the best way to experience it.
Meanwhile, here is Jessica Hynes’ rather cheeky ITBA acceptance speech:
