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
“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
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 “
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
Career Transition For Dancers, with offices in
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.
Let us hope this lunacy is just a trend…
An article at Playbill discusses an alarming problem that is fast becoming the latest headache for the house staff at Broadway theatres: text messaging. Now, I think the text message is an excellent way of communicating in a situation in which talking on the phone isn’t a viable option. However, it is made especially clear by the house management prior to the show either usually in the form of an announcement or in some cases an insert in the Pllaybill for audience members to turn off all electronic devices. Considering there is a law against the use of cell phones in theatres, one might assume this would fall under the ban. Most shocking is the item about Jake Gyllenhaal and Reese Witherspoon at a matinee of August: Osage County. If you’re only going to attend one act (especially when you think they probably received comp tickets) and spend the entire time on your blackberry, why bother coming at all? There are other people who could use the ticket, who would want to be engaged. It was also recently reported on the message boards about the incident at Gypsy last weekend where a teenager in the second row spent the entire first act texting to the increasingly unhinging frustration of Patti LuPone, who eventually wouldn’t re-enter the show in the second act until the girl was relocated or removed.
There was a time with one of my older cell phones, I would even remove the battery for the duration, just in case it accidentally turned on during the performance. Paranoid as I might be, I occasionally double or triple check the phone during a show to make sure it is off, even though I know I shut it down prior to the curtain. There’s always intermission people!!
In the words of your friend and mine, Mattie Fae Aiken, “Just…show a little class!!”
From the bookshelf…
Every six months, the booksellers at B&N receive what is called the “Employee Appreciation Discount” which gives us 40% off on books for a period of about a week. I was hell-bent on not buying anything, but my impulsive-compulsive whimsy took me to the computer screen to search for items of interest. One of the things I decided to do was look up some books that were later musicals or movies.
I read three of those recently (among two other books – the Strouse memoir and A Separate Peace by John Knowles): The Flower Drum Song by C.Y. Lee, The World of Henry Orient by Nora Johnson and Buried Alive by Arnold Bennett. Obviously the first was the basis for Flower Drum Song, the second, the 1967 Bob Merrill flop Henry, Sweet Henry (which came about from the popularity of the 1964 film adaptation) and my beloved 1968 disaster Darling of the Day.
As I read through the books, it fascinated me to see what the original creators came up with in terms of plot and character. Particularly FDS. In the book, the plot follows Wang Ta from his failed romance with the sluttish Linda Tow to his guilt-laden affair with the obsessive Helen Chao (who does one further than tell love to look away, she kills herself) and finally his romance with May Li, a Chinese immigrant, who is much more outspoken and not as charming as the character presented in the musical (the 2002 Hwang revisal need not apply). However, the themes of tradition and culture when juxtaposed with a generational gap (add to that the East vs. West friction), you see where Rodgers and Hammerstein found their musical. Keeping the characters and certain plot elements, they made their musical a decidedly lighter and more comic piece.
The World of Henry Orient and Buried Alive were pre-paid print on demand orders. They are books not regularly carried by the store and are non-returnable, so its got to be paid for and shipped to your home. I enjoyed that – you want a book, they print it especially for you – it’s kinda nice. Henry Orient, I think, should go onto the middle school reading lists. It’s a remarkably sophisticated coming of age story about two imaginative and quirky pubescent girls whose friendship revolves around their fascination with a second-rate pianist. However, the plot isn’t enough to carry a full-scale musical (not to mention the decision to take the relatively minor character of Lillian Kafritz and build her up with two glorious, but extraneous, showstoppers, but of course that’s what happens when you write a role for the fantastic Alice Playten).
Buried Alive is a delightful light British prose, with the farcical plot elements of a famed painter switching places with his dead valet. However, one of the major changes between Buried and Darling is the character of Priam Farll. In the book, most of his actions stem from an incredible introversion as opposed to the Henry Higgins-like disgust with British class society of the musical. Fortunately they kept the social commentary about the class society (Yip Harburg had a field day) in adaptation. However, the song “Butler in the Abbey” presents a finale that doesn’t possibly make sense. In the musical, its decided that the idea a valet has been buried in Westminster Abbey would bring ruination to England, and the final decision is to let Priam Farll go on being Henry Leek in Putney, with a decidedly Gilbertian tone. In the book, with more realism and great humor, the author playfully describes the media circus the trial creates throughout England, satirizing everyone along the way.
I’ve also started to list the books I’ve recently read under the aptly titled “A Trip to the Library” toward the right of the blog posts. Just feel like sharing!!
Silas Botwin Sings
Hunter Parrish who is most noted for his portrayal of Nancy Botwin’s older son on the hit Showtime series Weeds, one of my all-time favorite television shows, will make his Broadway debut as Melchior Gabor in the laugh-a-minute musical comedy riot Spring Awakening this August. As pleased as I am to see a younger actor with such a rising profile so willing to work on stage, I’m sorry to say it wouldn’t be enough to make me ever go see the show again.
However you can’t deny the kid’s got enthusiasm. From Playbill:
In a statement actor Parrish said, “I have always hoped that my passion for the theatre would eventually lead me to Broadway. Spring Awakening is a truly one-of-a-kind show with its timeless story, commanding music and innovative imagery. I am elated to have the opportunity to become a part of it.”
I’m quite fortunate – this is the first year I’ve had Showtime, so I can now actually catch the series as it’s airing. Still one of the more innovative series out there – Mary Louise Parker continues to amaze me, as does most of the cast and writers, frankly. Not to mention it’s made me a fan of Malvina Reynolds.
An Interview with Shannon Bolin
Peter Filichia interviews, 91 year old Shannon Bolin, who originated the role of Meg Boyd in the original Broadway production and subsequent film adaptation of Damn Yankees.
When You’re Good to Mrs. Brady
Though most of you remember her as the perennial TV mom, Mrs. Carol Brady from The Brady Bunch and its various offshoots into variety, comedy and even drama over the years, Florence Henderson was a premiere musical theatre ingenue in the 1950s. She made her Broadway debut in the chorus of Harold Rome’s Wish You Were Here. She continued to make a name for herself in national tours (most notably the first road company of The Sound of Music), Laurey in Oklahoma! at the City Center (with Barbara Cook as Ado Annie), the title role in Rome’s Fanny and a superlative turn in the final Noel Coward musical The Girl Who Came to Supper, her final Broadway appearance to date. TV soon called, and of course, Wesson Oil.
Anyway, here she is in an entirely new realm. Leather mama…? This is a kinky spin on a Kander and Ebb favorite at a tribute of theirs a few years ago. Say whatever you will about the performance, she looks phenomenal.
Random Thoughts on This & That
I’ve had difficulty logging into my blog over the past couple of days. I’m not sure what was up, but it was mighty frustrating not to be able to update.
Wall-E is one of the most extraordinary and ambitious Pixar films ever made. The film is a sort of Chaplin meets 2001 with extraordinary results. For those who love the musicals, it’s been heavily documented that the little robot’s favorite movie is Hello, Dolly! and Jerry Herman’s “Put on Your Sunday Clothes” and “It Only Takes a Moment” become incredibly important to the character and plot (wow, a song advancing a plot, isn’t that something…). To say the romantic aspect of the film is moving is an understatement. People have been critical of the subtle or not-so-subtle (it seems to depend on your political leaning) criticism of human consumerism and waste. As I was watching, I realized that this could have functioned as a live-action science fiction film. I was in a movie theatre with absolutely no children and was a moving experience. And that little robot is so cute, I want one for a pet. One of the best films of the year so far. Oh – and having Sigourney Weaver as the voice of the ship was a very nice touch.
There was a headline the other commenting on how Katie Holmes couldn’t bring about a million dollar advance sale for the impending revival of All My Sons. Truth be told, I think most people would be more excited to see the other three actors that have been cast: John Lithgow, Dianne Wiest, and Patrick Wilson. Perhaps Maggie Gyllenhaal will stand-by for her…?
Jan Maxwell is returning to Broadway as Maria Tura in the MTC production of To Be or Not to Be at the Biltmore this fall. Craig Bierko will be her costar. How exciting to have an actress as gifted and witty as Maxwell back on the boards. Her work as a self-preserving, pragmatic proto-feminist in the highly-inventive, but woefully shortlived Dickensian melodrama Coram Boy was multi-faceted and captivating. (Could I have crammed anything more into that sentence, yikes). The Walter Kerr shall not be dormant for long. Olivier-winner Kristin Scott Thomas and Peter Sarsgaard will headline the import of the London revival of The Seagull, that immortal laugh riot by Russia’s great gag writer Anton Chekhov. (Name that musical!)
I renewed my subscription at Roundabout. Looking forward to Pal Joey with Stockard Channing, A Man for All Seasons with Frank Langella and the revival of Hedda Gabler. I also want to see The Marriage of Bette and Boo with that delectable Victoria Clark and company.
I will be at The Dark Knight not Mamma Mia on July 18 at 12:01AM.
Spike Lee will be turning Passing Strange into one of his joints. He’ll be filming three performances of the show this month for airing on a TBD cable station.
Oscar nominee and stage vet Amy Ryan will be reprise her recurring role as Holly, the new HR representative at Scranton’s Dunder-Mifflin next season on The Office. I can’t wait to see where they take her character and Michael Scott, who had inexorable chemistry in this year’s season finale.
I’m taking in tomorrow’s matinee of A Catered Affair thanks to Chris at Everything I Know I Learned From Musicals. Look forward to reporting on Faith Prince. Not to mention a round two of “The Bloggers Who Brunch” on Sunday.
Happy Fourth of July everyone.
“Someone ought to open up a window…!” 😉
Violet Weston is Alive and Alone and Living in Pawhuska
For the heck of it, I decided to take in August: Osage County again (the Sunday matinee on 6.29), this time to see how the play holds up with replacement cast members. Five of the actors, including Tony-winners Deanna Dunagan and Rondi Reed, departed the company on Tony Sunday.
It’s sometimes hard to attend a play or musical after a favorite original cast member has left. The actor has worked specifically on the structure and personality of the character, often creating from the bare minimum. Estelle Parsons is now the matriarch Violet Weston, with Robert Foxworth (of TV’s Dynasty and Six Feet Under) as Uncle Charlie, Jim True-Frost as Little Charlie, Tony-winner Frank Wood as Bill and Steppenwolf member Molly Regan as Mattie Fae.
The replacements are all stellar; all fitting in seamlessly with the Weston family unit. The only disappointment lies in Regan’s Mattie Fae. There was something incredibly special in Reed’s characterization, her embodiment of certain lies that provided the audience with an incredibly likable vulgarity. Such lines as “The situation is fraught,” “I’m having a cocktail,” and “It’s my casserole” became special moments for theatregoers. In contrast to Reed’s short, stout physique, Regan is younger, taller, thinner and more of a harradin. She still manages to nail the character in points where it counts, particularly in her revealing final scene in the third act. I’m not saying that she isn’t giving a good performance, but it is in this character, I missed the original performance the most. Foxworth lends his laidback gravitas to Charlie. Wood has a field day with Bill, proving a volatile replacement for Jeff Perry and scene partner for Amy Morton (who is still giving the performance of a career here). True-Frost provided an endearing Little Charles.
Now onto the star turn. Estelle Parsons is a perfect embodiment of Violet Weston. Comparisons to Dunagan’s performance are inevitable; however, Parsons’ characterization is steeped in the text and she is never unfaithful to playwright Letts or director Shapiro. She was the actor I really watched the most throughout the play. With an Oscar and an impressive resume, it’s the first time she’s been on Broadway since the 2002 revival of Mornings at Seven. I’ve got to say, I enjoyed her from start to finish. With a physicality and appearance that defy her 80 years, Parsons dives in head-first into this mammoth part. Though less acerbic than Dunagan, Parsons manages to go on her truth-telling crusade with a headstrong vindictiveness that is ultimately tragic. Where Dunagan was pointedly sardonic and chilly, Parsons is a bit calmer; presenting a deceptively docile exterior, with a treacly sweet smile more venomous than a sprig of holly. She hasn’t quite nailed the second act dinner sequence – she appeared to lose her place during the claw-hammer monologue (with Morton, always the ultimate pro, prompting her back into the scene in a seamless manner, making it all appear as part of the action. Brava, Morton!), but trust me, she’ll get there. Parsons made an interesting choice – she constantly stole glances at Barbara in order to gauge a reaction. She also managed to bring down the house twice with the lines “It speaks” and “Scintillating,” involving Little Charles burst of courage during same sequence. (Let me also say from an acting perspective how spectacularly Parsons listens onstage).
Parsons’ has turned the final five minutes of the play into such a sobering denouement that it hasn’t been before (for me). “Listen, you smug little ingrate,” which was delivered with a viciousness and manic frenzy that was chilling. The audience was numbed most of all by her acting in the final moments, an almost apologetic and soothing calling out of names, during which panic starts to build, and explodes as she realizes no one is left. For the first time, I welled up during “And then you’re gone, and then you’re gone…” – one other thing that happened, and I think it was an accident, but after the blackout, there was one last mournful “and then you’re gone” in the total darkness that just resonated so perfectly, I wish the play always ended like that.
The audience continues to hinge on every word. Their response was nothing short of cacophonous. If you haven’t yet seen this play, get your tickets and go. The play is as strong as ever, and in more than capable hands. I myself can’t wait to see Parsons do it again, to see how she grows into the role.
Violet Weston is still here. And I hope she never invites me for dinner.