The Phantom Takes Manhattan

Bring Back Birdie
Annie 2: Miss Hannigan’s Revenge


and now Phantom…Once Upon Another Time

Andrew Lloyd Webber is fast at work on his impending sequel to his monstrously successful The Phantom of the Opera, which finds the characters a few years later in New York, where Christine has become a successful opera singer.

The show’s first act was presented at the Sydmonton Festival this month and first word of the plot and storyline are starting to come in. From Andrew Gans at Playbill:

The new musical, directed by Jack O’Brien, is set in Coney Island in 1906. The Post describes the musical’s first half as such: “The Phantom, having fled Paris, is running a freak show. At night, he crawls into his lair and makes love to an automaton that looks like Christine. Christine, meanwhile, has become a famous opera singer. But she’s fallen on hard times because her husband, Raoul, has squandered their fortune. So she’s accepted a high-paying gig from a mysterious impresario to open a new amusement park. On her first night in New York, she draws back the curtain in her hotel suite and comes face to face with her new employer — flash of lightning, crash of chords — the Phantom! Christine has a child, Gustave, but is his father Raoul or the Phantom?”

Hold everything. He makes love to an automaton that looks like Christine? Is anyone else completely horrified/hysterical with laughter at that? I know I am, and it’s out of a vague discomfort at the entire prospect.

I’m not suggesting that a musical theatre sequel cannot be a success, it’s just that for the most part they’ve been nothing but complete and utter disasters, with those two follow-ups I mentioned the most notable. (Though there was some success with the eventual Annie Warbucks that played off-Broadway in 1993, it was still better to leave well-enough alone).

I’m trying to think of a musical sequel that has been a success, but none seem to come to me. Perhaps Divorce Me, Darling, the follow-up to The Boy Friend, has done alright for itself, but it’s nothing close to being an established title.

I would love to hear your thoughts on this.

Zoe Caldwell as Medea

I myself have never had the privilege of seeing Zoe Caldwell perform. The four time Tony winner (Slapstick Tragedy, The Prime of Miss Jean Brodie, Medea, and Master Class) has made incredibly few appearances on film, so I relish in the opportunity to see, well quite frankly, if she lives up to the hype. And, oh how she does. She is to put it mildly, utterly captivating to watch. Note Judith Anderson, (who won a Tony for playing the same role in 1948) played the Nurse in this revival. Here is a clip from the telecast of Medea:

She is featured in an interview with Charlie Rose from 1996, while she was once again the toast of the American drama as Maria Callas in the original Broadway production of Master Class. The episode is presented in its entirety, but if you want to skip the Clinton era, you can skip to 10:47 in, where the lengthy and fascinating interview commences.

Patricia Routledge criticizes the BBC

Many years following the cancellation of “Hetty Wainthrop Investigates”, series star Patricia Routledge slams the BBC:

Miss Routledge, 79, this week said: ‘We were betrayed by the BBC. We finished series four of Hetty Wainthropp, we were told there was going to be series five.

‘But no word ever came – how rude! The BBC is run by 10-year-old children.’

Never mess with PR. She’ll give you the what-for.

Hello,Wall-E!

Okay, so I’m about the seven thousandth person to make that pun. Sue me. However, thanks to the fantastic Pixar animation film Wall-E, which is one of the most loved films to come about this year, there is talk of the Nederlanders presenting their long-awaited revival of Hello, Dolly! It had actually been discussed when the revival of La Cage Aux Folles was first announced a few years back that the Nederlander Organization would present revivals of La Cage, Dolly! and Mame in succession. However, with the disappointing six month run of La Cage, the other two shows seemed to be put on the back burner.

Fast forward to right now. Jerry Herman is excited. The buzz created from the film is stratospheric. The Nederlanders’ interest is back up. And the internet boards are abuzz with chatter about who would make the perfect Dolly Gallagher Levi. So it makes perfect sense to strike when the iron is hot. And let’s face it, the film adaptation of Dolly is pretty lackluster. Barbra Streisand was somewhat out of her element (even if the note she holds at the end of “Before the Parade Passes By” for sixteen bars is impressive), the overall picture was low on humor and ultimately bloated with too much spectacle and little heart, with the story of Dolly’s re-emergence feeling lost in the shuffle. Another problem, for me, is that because of her youth and vibrance, there is a certain gravitas lost in the character’s arc. Where has she been?)

Jerry himself weighs in on some various “suggestions” in Variety:

Herman has been thinking of possible actresses to topline the revival for some time. While he concedes the role demands “a big star,” he declines to name any frontrunner. He acknowledges eyeing Queen Latifah to play Mrs. Dolly Gallagher Levi, but says her busy film career would make that casting problematic — at least so far.

Chat rooms and theater insiders have been volunteering casting ideas that range from the fantastic to the obvious: Oprah Winfrey (“An exciting idea, but I don’t think she could devote a year to the production,” says Herman); Meryl Streep (“She can do anything.”); Barbra Streisand, star of the 1969 screen version (“She’s the right age now, but she’s never coming back to Broadway.”); Patti LuPone (“Magnificent.”); Reba McEntire (“I’m crazy for her, but I’m not sure about the accent.”); Bernadette Peters (“We were close friends and I obviously love this lady, but I just don’t know.”).

Interesting comments from Mr. Herman. Hell, I think this revival should replicate the original: replace one formidable star with another. Why not have all these ladies come down the red staircase akin to Carol, Ginger, Betty, Martha, Pearlie Mae, Phyllis and Ethel.

It’s refreshing to see something Broadway related so fresh in the mindset of current popular culture. Makes me feel like I’ve seen a flash of what it would have been like to be a theatre fan in 1956.

"Some Enchanted Evening"

I know there are you naysayers who didn’t particularly care for this production, better yet, for this musical entirely. I found this clip on BlueGobo tonight and had to share this swoon worthy coupling of 2008 Tony winner Paulo Szot and Kelli O’Hara, here singing the first “Some Enchanted Evening” reprise, which appears in the show proper between “I’m Gonna Wash That Man” and “A Wonderful Guy.” My only complaint is the pesky TV direction by those people at “The View.” One shot through the harp is good enough, thank you. Just let the camera focus on the performers.

Just Another Reason to Love Donna Murphy

What About Joan? Does anyone remember this sitcom vehicle for Joan Cusack from 2001? It aired on ABC for a very short-lived period of time. The show presented Cusack as her usual neurotic self, with a boyfriend of six weeks (played by Kyle Chandler) proposing marriage and the hijinks that follow. As in most sitcoms, there is a central core of friends lending moral and comic support to the leading character. Your lovable diva and mine, Donna Murphy, played Dr. Ruby Stern, a sassy psychiatrist dealing with her own neuroses. (Trivia: the sitcom was produced in Chicago so Cusack could remain close to her family. Deanna Dunagan was a guest actress on one of the show’s episodes – not this one).

For the show itself? The ratings started out strong, but the show was slashed early in its second season when ABC decided to revamp its entire programming, ridding itself of Joan and Bob Patterson and causing the woefully premature demise of the great Denis Leary sitcom The Job.

The description of the episode is as follows (courtesy of TV.com):

Sensing that Jake is in a “funk,” Joan encourages him to get some professional counseling, a la Dr. Ruby Stern. Against his better judgment, he agrees to go and talk to Ruby, although it feels strange to divulge his most intimate thoughts to Joan’s best friend. During their session, it’s Ruby who has a breakthrough, realizing that somehow along the way, she never pursued her first love of singing, for fear that she would fail. Concerned that she would never be the best, she never tried. In an effort to push Ruby past the point of fear, Joan sets up an opportunity for her to perform at an open mic club.

Well here is Donna Murphy taking on the classic “Hit Me With a Hot Note.” Also note, her pianist? That’s none other than Grey Gardens composer Scott Frankel. Enjoy…

>As the regulars are well aware, I’ve been toying with the design on the site. I felt a change was needed so I settled on this – for now. I may tweak things here and there as I try to become more blog literate in the ways of design, etc.

As the regulars are well aware, I’ve been toying with the design on the site. I felt a change was needed so I settled on this – for now. I may tweak things here and there as I try to become more blog literate in the ways of design, etc.

"On Broadway!" A Glittering Salute to the American Musical"

Any event which promises an appearance by Angela Lansbury has got to be okay in my book. She’s hosting the following gala which will honor Brian Heidtke and Tommy Tune this October. Sounds very interesting, no?

Rolex presents “ON BROADWAY! A Glittering Salute To The American Musical”- Career Transition For Dancers’, 23rd Anniversary Jubilee on Monday, October 27 at 7pm at New York City Center, 131 West 55 Street (bet. 7 & 6 Aves). Two of the honorees for the Gala are Brian Heidtke and Tommy Tune. Multi award-winning actress Angela Lansbury will host the Gala, which will be followed by an Anniversary Supper with the Stars at Hilton New York’s Grand Ballroom. “ON BROADWAY! A Glittering Salute to the American Musical”, is a glorious historical journey inside the Broadway musical seen through the eyes of legendary choreographers. The Gala will be the entertainment-dance event of the new season; accompanied by the Jubilee Orchestra with appearances by dance companies, dancers, stars and many surprises. It is produced and directed by Ann Marie DeAngelo.


“We are pleased to present the Rolex Dance Award to Tommy Tune, the most illustrious choreographer, dancer, singer and director of our time. This winner of nine Tony Awards and The National Medal of Arts is not only dedicated to the art of dance, but also to supporting the mission of Career Transition For Dancers. We are pleased to celebrate his legendary career and many contributions to the world of dance,” said Allen Brill, President and CEO of Rolex Watch USA.


Tommy Tune is the recipient of an unprecedented nine Tony Awards in 4 different categories plus, among other accolades, 8 Drama Desk Awards, 2 Obie Awards, 2 Astaire Awards, American Dance Award, Drama League Award, and the George Abbott Award for Lifetime Achievement. Tommy first danced onto Broadway in the chorus of “Baker Street”, followed by “A Joyful Noise”, “How Now Dow Jones” and “Seesaw” (1st Tony). He directed “The Club” then on to B’way, as choreographer and co-director on “The Best Little Whorehouse in Texas” followed by “A Day in Hollywood/A Night in the Ukraine” (Tony). Other shows are “Cloud 9”; “Nine, The Musical” (Tony). A double Tony Award win for “My One and Only”. “Grand Hotel” followed with 2 more Tony wins; and the following year Mr. Tune did what no artist had done before when he won the same two prestigious honors back to back for “The Will Rogers Follies”. Tommy returned to perform his one-man song and dance show, “Tommy Tune Tonight!” Tune has sung and danced for three U.S. Presidents, the Queen of England and the Royal Family of Monaco. He was inducted into the Broadway’s Theatre Hall of Fame, and has his own star on the Hollywood Walk of Fame.


Brian Heidtke will receive the Career Transition For Dancers’ Award for Outstanding Contributions to the World of Dance. He has been an active member of the dance community for years, serving both as board trustee and as a financial supporter. He is the Vice President and Treasurer of ABT and chairs its education committee. He is also the recipient of the Lucia Chase Award. He has been an active supporter of the international ballet competition Youth America Grand Prix and of the Kaatsbaan International Dance Center. Formerly the Vice President, Finance and Corporate Treasurer of Colgate-Palmolive Company, he is the Chair of the National Association of Corporate Treasurers and a board member of the Williams Capital Management Trust.


Career Transition For Dancers, with offices in New York City and Los Angeles, has helped thousands of professional dancers identify their unique talents in preparation for establishing new careers when dance is no longer an option. Since 1985, they have provided more than 38,000 hrs (equivalent to $4 million) of one-on-one career counseling and program services (at no cost) and has awarded millions of dollars in scholarships for education and grants. CTFD also provides dancers with specialized services that include seminars and workshops, peer support groups, resource centers, a toll-free national hotline, and National Networking Directory. The Caroline & Theodore Newhouse Center for Dancers is at 165 West 46th Street Suite 701 (at Broadway – the Actors’ Equity Building) NYC. CTFD’s phone number is (212) 764-0172 and the fax is (212) 764-0343 and in Los Angeles (323) 549-6660. www.careertransition.org


Gala tickets are $600, $750 & $1,200 each, which include the performance and a post-performance ‘Anniversary Supper with the Stars’, auction and dancing. Sponsorships, tables and journals ads are also available. For gala tickets call Marjorie Horne of McEvoy & Assocs. at (212) 228-7446 x33 and for Group Sales (718) 499-9691. Show only tickets are $130, $75, $55 and $45.