Reconsidering Irma La Douce

A couple of weeks back, I introduced myself to Billy Wilder’s film adaptation of Irma La Douce, starring Jack Lemmon and Shirley MacLaine. For the most part, it’s an amusing movie but it suffers due to its overlong running time. But more importantly, I started thinking about the original musical from which the film came. Irma, in a situation parallel to Harold Rome’s Fanny, had all of its musical numbers removed for its film version. The musical themes heard on the Broadway stage were adapted as underscoring (Andre Previn, who won the Oscar for it) and there was no singing and dancing, except an homage to the first act’s major showstopper “Dis-Donc, Dis-Donc” with MacLaine kicking up her heels on top of a pool table.

The show’s origins are unusual: it is the most successful musical comedy ever to originate in France. With music by Marguerite Monnot (Piaf’s best friend and favorite songwriter) and book and lyrics by Alexandre Breffort, Irma La Douce (which translated means “Irma the Sweet’) opened in Paris in 1956 to wide acclaim and popular success, running for four years. In a move that foreshadowed the journey of Les Mis some twenty-five years later, the show was optioned by British producers.

Plotwise, it was a rather innocent, albeit farcical adult fairy tale of a Parisian prostitute living near the Place Pigalle, who is the most popular girl on the block. A young law student (cop in the film) falls in love with her, becomes her pimp and is so jealous at the thought of other men being with her, he creates an alternate identity and becomes her sole customer. When Irma feelings for this new “customer” start to threaten the initial relationship, the pimp kills off the alter ego only to be sent to Devil’s Island for murder. And there’s also a baby. Oh, it’s ridiculous, but it’s ridiculous fun. With enough charm, the show works quite well. The score matches that sense of fun, with some dynamite musical numbers, especially for Irma who shines with “Dis-Donc” and the title song in the second act.

The English translation of the script and songs was done by Julian More, David Heneker and Monty Norman. Directed by the famed Peter Brook, the new version of the show opened at the Lyric Theatre in London where it was a tremendous success. The cast was led by Elizabeth Seal, who had previously scored a triumph as Gladys in the London company of The Pajama Game, Keith Michell as the lover and Clive Revill playing several roles, but is mainly the bartender and confidante to the lead characters (and also the show’s narrator). The show ran for 1,518 performances.

Then David Merrick got involved. Merrick is probably best known as the Abominable Showman for his ruthless (if admittedly effective) marketing schemes and especially for his blockbusters like Hello, Dolly! and 42nd Street. However, he was also known for importing London successes, including such diverse shows as Stop the World I Want to Get Off! and Marat/Sade, among many others. Irma La Douce was another of his imports.

The three London stars made the trip across the pond. Among the supporting cast were the perennial George S. Irving, a pre-Munsters Fred Gwynne, Elliot Gould and Stuart Damon. (Virginia Vestoff, later to find success in Man with a Load of Mischief and especially 1776, was Seal’s standby). New dance music was arranged by John Kander for Onna White’s choregraphy. Robert Ginzler supplemented Andre Popp’s orchestrations to accommodate changes made for the show’s NY berth.

The show was a hit. Critics and audiences raved and the money poured out. Even before the show opened in NY, it was announced that Billy Wilder was to direct Jack Lemmon in the film version. Elizabeth Seal was the toast of Broadway, winning the show’s sole Tony Award for Best Actress in a Musical, besting Julie Andrews in Camelot, Carol Channing in Show Girl and Nancy Walker in Do Re Mi. (The show was nominated for six others). Irma closed after 524 performances, a solid respectable hit.

Michell later headlined productions of Man of La Mancha and La Cage Aux Folles and is familiar from his recurring role as Dennis Stanton on Murder She Wrote. Revill opened Oliver! on Broadway for Merrick, and later took on the title role in Sherry! He was also the voice of the Emperor in The Empire Strikes Back. However, Seal’s career never quite took off. She made one more appearance on Broadway in the Cicely Tyson revival of The Corn is Green. She’s done some BBC radio appearances, notably taking on Solange la Fitt in a concert of Follies. Her most recent film credit was a bit part in Lara Croft Tomb Raider in 2003.

The musical itself held international appeal. Hookers with a heart of gold seem to be a popular draw in musical theatre and many international cast albums were recorded. However, the musical hasn’t received many major revivals. As it turns out there was some disagreement between the French and English estates involved with the property making professional English language productions almost impossible to pull off. But there is good news: I attended the first NY revival of the show was presented by Musicals Tonight in October ’08 which showed that Irma still has some life left in her. I can only hope that now we might see more productions of the show, perhaps at Encores! But then again it might be too small a show for the City Center: the cast is comparatively small and the show’s original orchestration is a producer’s dream: nine pieces (with some considerable prominence given to the xylophone).

There is a London release of the OLC through Sepia, and that particular recording is a slightly more intimate affair with more dialogue (including the entire “There is Only One Paris for That” musical sequence) but I have a greater affinity for the Broadway cast album, especially since it contains that sparkling, infectious overture – one of my absolute favorites. If you’ve never heard Irma La Douce, pick this one up, I don’t think you’ll be at all disappointed. The question now comes down to this: who could play Irma?

The pictures interspersed throughout the post are from the November 14, 1960 issue of Life Magazine entitled “Sweet Irma in a Wicked World.”

How to Succeed with Wolves

Two major productions were announced today. One of the two was official confirmation of a project long rumored to be in gestation. The other, a left field surprise.

Spring 2011: Daniel Radcliffe, famously of the Harry Potter series will star in the second Broadway revival of the Tony and Pulitzer prize winning musical (and one of my personal favorites) How to Succeed in Business without Really Trying. Perhaps he’s younger than the other actors who have played him (specifically Robert Morse and Matthew Broderick, both to Tony-winning effect) and perhaps some might think fifteen years is a bit too soon for another revival. But it doesn’t seem as fast a turn around as revivals of Gypsy and La Cage Aux Folles within five years of each other. I’m curious to see what Radcliffe does with the part, as he’s been rumored to be quite good in the workshops they’ve had recently. The director-choreographer is Rob Ashford, currently represented with Promises Promises. I only hope this is the sort of revival that makes audience go crazy a la Guys and Dolls (1992, not 2009). It’s encouraging to see one of the most recognizable movie stars in the world interested in doing theatre – and a musical at that. I wish him nothing but the best with the experience.

Opening unknown: The left field announcement came from producer Matt Murphy (Thurgood, Impressionism and the current Memphis) who announced plans for a musical adaptation of Dances with Wolves. Originally a novel by Robert Blake, its 1990 film adaptation won seven Oscars including Best Picture. The story is that of an isolated US Army lieutenant who finds himself connecting with Sioux culture while Americans start to invade the territories of the West. Frankly, I’ve never been that compelled by the film; I find it something of a slog (three long hours in its theatrical cut, four in its masturbatory director’s cut). But I am curious what could be made of the project. I admit my initial reaction is to scream “bad idea.” Then again I can’t imagine that Sweeney Todd looked that great on paper either. But for every Sweeney Todd there are countless Gone with the Winds, Lolita My Loves, Here’s Where I Belongs, Civil Wars, etc. Even if they use the novel for the adaptation, many are just going to assume it’s a musical version of a well received film. Apparently there isn’t even a creative team in place for this one therefore it’s completely in its infancy. It will be some time between now and its premiere. We shall see…

"Anyone Can Whistle" at Encores


I would like to call for a coronation in New York City. I don’t know if there are any statutes in the NY government that allow for such activity, or even whether her colleagues would appreciate my hubris, but if there is anyone who deserves to be crowned the Queen of Musical Comedy (at least this year) it is Donna Murphy, who experienced another in a series of career triumphs in this weekend’s Encores! revival of Anyone Can Whistle. If you missed her performance, I am legitimately sorry for you because it was the most scrumptious, delectable, laugh-out-loud hilarious musical comedy performance I’ve seen in the last several years.

Lusty, shallow, greedy, neurotic and deliriously oblivious, Murphy sashays through the evening like a Vegas nightclub diva, complete with a quartet of male dancers who follow her everywhere she goes. Her voice is in exceptional form and each one of her numbers was a pure knockout. Every nuance in her delivery, her physical movement, even the way she pronounces her own last name is enough to bust a gut. Her physicality is fearless, brash and just about the greatest thing since sliced bread. Every moment she is onstage you can’t help but watch her – she’s not only funny, but fascinating.

Murphy, coiffed by Gregg Barnes in an homage to the role’s originator Angela Lansbury (who insisted she play the part), is so winning that she would win every theatre award in sight were she eligible. It’s even more impressive when you think of her career trajectory: the bleak, depressive Fosca in Passion, the prim Mrs. Anna in The King and I, Ruth Sherwood in Wonderful Town and Phyllis in Follies. There are not many actresses with such extensive range and ability.

It bears mentioning that Ms. Murphy is not onstage alone. Sutton Foster is lots of fun as a Fay Apple, the uptight pragmatic nurse who can only let down her guard when dolled up like a French tart. She brings that now trademark belt to “There Won’t Be Trumpets” and offered a touching rendition of the title song. Raul Esparza flits around wildly as Hapgood, the would-be doctor who is actually a patient running the asylum. Edward Hibbert, Jeff Blumenkrantz and John Ellison Conlee provide enormous comic support as ‘Hoovah-Hoopah’s’ sidekicks, partners in crime (and possibly some more unmentionable extra-curricular activities).

This legendary flop played nine performances at the Majestic in 1964, an overreaching satire about a bankrupt city whose corrupt mayoress (and minions) concoct a phony miracle in order to capitalize on it. I won’t get too far into the plot as, well, with this show it doesn’t particularly matter. Laurents’ libretto is a meandering mess that tries too hard to lampoon everything imaginable. It seems that by trying to make the show all about everything that the creators inadvertently made it about nothing. David Ives made judicious cuts to the book, but to little avail: the piece as a whole is still unworkable and unsalvageable.

But there is still that score. Goddard Lieberson had the foresight to record the score in spite of the show’s closing. Sondheim, at this point, was primarily known as a lyricist and whose only Broadway composing credit was the smash hit A Funny Thing Happened on the Way to the Forum. It was in Anyone Can Whistle that Broadway had its first taste of the Sondheim style and sound, which would revolutionize the genre in 1970’s Company. The album turned the show into a cult favorite, keeping Sondheim’s music and lyrics alive.

In honor of the composer’s 80th birthday, Encores! offers the rare NY revival and it is highly doubtful this production could be bettered. Director-choreographer Casey Nicholaw, also responsible for the memorable Encores! concert of Follies three years ago, has staged the piece with winning originality, especially in the subtitled bedroom scene. His dances are especially polished. They culminate in a showstopping climax with the “Cookie Chase,” a comic ballet complete with butterfly nets and tumbles. It’s a zany, absurd piece that simultaneous recalls the Keystone Cops and Tchaikowsky and is utterly ingenious, and an homage to the work of Herbert Ross, the original choreographer.

This is one of the best I’ve seen at the City Center. However, if producers are thinking of transferring this one, I don’t think that would be a wise move. It’s unlikely that we’ll ever see a commercial production that could make the show work or make it as fun as this one. But this is the ideal Encores! experience: a show that wouldn’t ordinarily be revived. This one will be best remembered for its triumphant weekend. Let’s hope next season can produce such a winner. Now I just wonder who’ll we have to see about getting Donna Murphy onstage in that other Lansbury star vehicle, Mame.

Dixie Carter (1939-2010)


Dixie Carter, the actress/singer who epitomized Southern class and elegance on TV’s Designing Women, has died at the age of 70. The cause of death was endometrial cancer.

While most famous for her television work, Carter also had an extensive stage and cabaret career. Carter was born in McLemoresville, Tennessee. A lyric soprano, Carter had originally dreamed of being an opera singer until a botched tonsillectomy in her childhood changed that. She received a degree in English at the University of Memphis and was also a runner-up in the Miss Tennessee pageant of 1959. It was in Memphis that she appeared in her first professional production, a revival of Carousel.

Carter made her Broadway debut in the short-lived Sextet in 1974. She played Melba, the reporter show sings “Zip” in the 1976 revival of Pal Joey (she would later play Vera in a production in LA in the early 90s, with Elaine Stritch as Melba). More recently, she was a notable replacement as Maria Callas in Master Class and as Mrs. Meers in Thoroughly Modern Millie. Off-Broadway, she received a Theatre World Award in 1975 for Jesse and the Bandit Queen and was nominated for a Featured Actress Drama Desk Award in 1979 for Fathers and Sons. Regional credits ran the gamut from Tennessee Williams to Shaw to Rodgers and Hammerstein. She was scheduled to appear at the Shakespeare Theatre in Washington, D.C. this summer in a production of Mrs. Warren’s Profession.

It is for her extensive television credits that she is became most well known. She had recurring roles on Filthy Rich, Diff’rent Strokes, Family Law and more recently on Desperate Housewives. However, it is her performance as the erudite interior designer Julia Sugarbaker in Designing Women for which she is best remembered. The series ran seven seasons on CBS and was immensely popular for its depiction of four southern friends living and working in and around Atlanta, Ga. Carter’s characterization became immensely popular for her “tirades,” in which the mild-mannered Julia got fired up over something she perceived to be an injustice or which offended her liberal feminist sensibility.

In reality, Carter was actually a libertarian Republican. She struck a deal with Designing Women’s creator and friend Linda Bloodworth-Thomason. For each tirade, she was given an opportunity to sing. The material ran the gamut from Schubert’s “Ave Maria” to “Bosom Buddies” from Mame, among many other memorable musical moments in the series’ run.

Carter is survived by her husband of 26 years, Hal Holbrook as well as her daughters Mary Dixie and Ginna from her first marriage to Arthur Carter. She was also briefly married to George Hearn.

My introduction to Dixie came from reruns of Diff’rent Strokes, where she spent one season as the fitness instructor who married Mr. Drummond. It wasn’t until many years later that I saw her on reruns on Designing Women as well as other appearances. She was always a welcome presence on television, whether she was acting or singing, and was always a class act. Here is what is probably the most popular of the many tirades given on Designing Women, “The Night the Lights Went Out in Georgia:”

Sandy Duncan is Peter Pan


There have been three major performers who have played the title role in the 1954 musical adaptation of Peter Pan on Broadway. The original and most iconic was Mary Martin, who won a Tony for it and famously played the part on TV three times. Twice it was presented live (and kinescopes exist), but the third was taped in color in 1960 for future broadcasts which forever cemented the show’s (and Martin’s) popularity. Then in the 1990s, gymnast Cathy Rigby played the role in four separate Broadway engagements (earning a Tony nod for the first time out in 1991), took the show on numerous tours and also preserved her version for TV.

In between these two, there was a major Broadway revival in 1979. Sandy Duncan played the title role, with George Rose as Captain Hook. The show played the Lunt-Fontanne for 554 performances making it the longest Broadway production of this vehicle (to be fair, the other four engagements were all limited).

Duncan was immensely popular in the show, but unlike her predecessor and successor, she didn’t get a TV version nor did she get a cast album. (However, like the other ladies, she was nominated for a Tony). Perusing the Youtube, I discovered some video clips of Duncan in the part, easily the best dancer of the three ladies to have had a turn at this show. Enjoy:

Appropriately, Mary Martin introduces Duncan in “Neverland” on the 1982 TV special “Night of a 100 Stars:”

An Omnibus TV special taped live during a performance at the Lunt-Fontanne presented “I’m Flying.” It’s really incredible to see the effect the show can have on children, and just how enthusiastic they get into the show especially when Peter is flying.

The cast performed “Ugg-A-Wugg” on the 1979 Macy’s Thanksgiving Day Parade. Robert Iscove directed and choreographed. Note Sandy Duncan’s high kicks:

Catching Up – Fela! & Yank!

Both shows are completely different but they are two of the most important musicals to open this season and attention must be paid, especially from yours truly.

I don’t quite know how to start with Fela! The new musical is unlike anything I’ve ever seen, and that’s a good thing. The show is a fascinating, riveting and very infectious entertainment that uses the life story of Fela and his music to showcase his impressive achievements as a musician and activist.

The Eugene O’Neill Theatre has been transformed into his nightclub. The premise: it’s Fela’s last performance before leaving his country in the wake of military dictatorship and the oppression of civil rights. Lights are strung throughout the audience area, there are artifacts and pictures on the wall, recalling the ancestors of those who have long since passed on. Afrobeat is piping in overhead, and slowly the band makes its way to the stage and suddenly the music is live and no longer canned.

The title role is the entire show. He carries the evening from start to finish on his shoulders, talking, singing, dancing and playing the saxophone. It’s little wonder that the role is split between two actors, Sahr Ngaujah (who originated the role off-Broadway) and Kevin Mambo (whom I saw and enjoyed).

Bill T. Jones’ choreography is some of the most impressive I’ve seen in recent seasons. The energy level and athleticism is unlikely to be forgotten. The book consists mostly of Fela telling us about himself. It gets a bit tedious, The majority of the evening is spent in monologues. Only Lillias White (who, equally impressive as Fela’s activist mother, blasts the roof off the theatre with an eleventh hour appearance) and the delicious Saycon Sengbloh have lines, and are clearly supporting parts. No one else in the ensemble has any lines, but given the nature of the choreography I doubt they’d have the breath to get out any words. But it’s more than just the words and the music. It’s more the unspoken energy and the impact the show can have on audiences. It’s not very often you see the tired businessman on his feet dancing without reservation. You’re more like to see this wave of energy at Fela! than even over at Hair.

Musical doesn’t seem quite the perfect word to describe Fela!, but it really is the most appropriate for the experience. I knew absolutely nothing about Fela Kuti going into the show, and made it a point to avoid research because I felt like going into the show knowing as little as possible. The result fascinated me, and I can tell you I am now in the possession of several Kuti albums and have read far much more about the activist/singer than I thought possible. Would I take in Fela! again? In a heart beat.

Yank! has been gestating off-off Broadway and in fringe circuits for several years. Written by the Zellnick brothers (Joe and David), the tuner is a throwback to the Rodgers and Hammerstein musicals of the Golden Age. I’ve seen some comparisons to South Pacific and while the parallels are obvious, structurally the show owes more to Oklahoma! right down to its eleventh hour dream ballet.

The musical is a love story between two soldiers from WWII who find themselves forced to keep their romance a secret. The show succeeds for the most part. It’s a fascinating look into a subculture of the Second World War that doesn’t get as much attention as other historical events. It’s mostly engaging with a tuneful score, though the company number numbers and pastiches are surprisingly far more memorable than the material sung by the leads. There are some aspects of the libretto that could use some ironing out. The show runs a bit too long, and the flashback device (the show starts with a contemporary kid finding a journal in a junk shop) doesn’t work. Also, some of the set-ups to certain musical numbers recall more Rodgers & Hart than Rodgers & Hammerstein. The dream ballet isn’t terrible, but it isn’t terribly exciting either and seems out of place in the eleven o’clock spot.

The cast is mostly excellent with Bobby Steggert especially memorable as Stu, the young and impressionable gay soldier. Fresh from his turn in Ragtime, Steggert is on a winning career path and it will be interesting to see where he ends up next. Ivan Hernandez is quite formidable as Mitch, the seemingly macho heterosexual with whom Stu falls in love. The ensemble is a sort of take-off of that Battleground cliche: different backgrounds, ethnicities, etc. (But did we need another homophobic, possibly racist redneck to wreak havoc? It would be more interesting if they set that up to be one of the more likable buddies who is placed in that situation).

The production’s greatest asset is actually its leading lady. Nancy Anderson embodies every single woman in the show, from Stu’s mother to a sympathetic lesbian Army officer. Anderson gets the chance to parade out in the best costumes (well, it is about the military…) shining in diegetic pastiche numbers that comment on the action. One of the funniest moments of the entire evening is her spot-on turn in a black and white WWII era film, a sort of operetta spin on So Proudly We Hail.

Jeffrey Denman’s tap-heavy choreography is clever (especially in “Click”), but for the most part feels repetitious, save for the aforementioned dream ballet. The show is moving on from the York Theatre Company and is now slated for a Broadway berth this fall. The show thrives on its intimacy and the smaller the house the better.

In the wake of the current DADT controversy, the creators have written what has turned out to be a timely musical. With some more work, they can make it timeless.

"Lend Me a Tenor"


Leaving the Music Box Theatre after seeing the infectious new revival of Lend Me a Tenor, I found myself unable to stop humming “La Donna è Mobile,” the famed aria from Rigoletto. No matter what I did or what song I played, it remained at the back of mind – buoyant, effervescent and melodic. The aria is heard as the house lights go down and curtain comes up on Ken Ludwig’s popular farce, instantly grabbing you and immersing you into the roller coaster ride of sidesplitting comedy about to enfold onstage. Like that aria, this new production sings out with gusto that will leave you buoyant, effervescent and smiling long after you have left the theatre.

The original production was a big hit in 1989. Starring Victor Garber, Tovah Feldshuh, and Tony-winning Phil Bosco, it ran for over a year and instantly became a staple in stock and community productions. (Its world premiere was in London in 1986). The plot in brief: the Cleveland Grand Opera is expecting a world-renowned Italian tenor for their gala. When he becomes indisposed, hijinks, misunderstandings and a hell of a lot of door slamming ensues. As a farce, the play itself is merely good, not great. Ludwig’s text as a whole feels more like a rough draft of a greater comedy that has yet to be realized. There are some missed opportunities (especially with the Bellhop, who should have more to do) and its ending seems somewhat abrupt and rushed. However, this production is so laugh out loud hilarious and features a top notch ensemble of actors, that it’s incredibly easy to both forget and forgive the shortcomings of its writing.

Anthony LaPaglia shines as Tito, the egomaniacal tenor in question whose propensity for women and booze causes most of the evening’s chaos, and is especially memorable for the fearlessness of his physicality, particularly in the scene where he gives the impressionable would-be tenor Max a lesson in voice and relaxation. It must be seen for full effect. Tony Shalhoub is in full cigar-chomping mode as the temperamental producer Sanders. Jay Klaitz is a comic revelation as the endearing Bellhop (and operaphile). Movie star Justin Bartha makes an impressive Broadway debut as the nebbishy Max, who vacillates between the sadsack producer’s assistant and confident opera diva when masquerading as Tito with considerable aplomb.

Mary Catherine Garrison winningly proves that ingenues have dirty dreams as Saunders’ daughter and Max’s girlfriend, and whose scream in the second act is one of the funniest moments I’ve seen on this or any other stage. The ever-reliable Jennifer Laura Thompson, always a welcome presence, taps into her quirky comic skills as the seductively ambitious diva Diana. Brooke Adams is far too striking to convince as a dowdy, past-her-prime matron, but the actress – mercilessly decked out like the Chrysler building – scores some big laughs.

Jan Maxwell effortlessly walks away with the entire evening as Maria, Tito’s fiery, jealous wife. Maxwell, who was last seen giving a bravura star turn in the shimmering revival of The Royal Family, hits another home run as she rages, seethes and breaks down with an exaggerated Italian accent. Whenever she is onstage she is in total command, somehow maintaining her character’s elegance in spite of her antics. She brought the first act to a crashing halt by merely hissing. After the disappointments of To Be or Not to Be and Coram Boy (which deserved to be a hit), it is especially welcoming to see Maxwell having such a banner season. Ms. Maxwell is one of the unquestionable treasures of the NY theatre scene, equally adept in both plays and musicals. If there is a God, Maxwell should be nominated for a Tony (for this and The Royal Family) – and she should win.

Then, of course, there is the director. Stanley Tucci, in his first Broadway directing gig, is as gifted a director as he is actor. His task is not an easy one; staging a successful farce is incredibly difficult as it involves laser-sharp timing from the loudest door slam to the tiniest gesture. His work here is infectious and inventive, bringing lightning pace and visual gigs, but also a certain touch of humanity that wouldn’t normally seem possible in pure farce. Tucci’s directorial touch is solid 14 karat gold. Anyone sitting center orchestra should also watch out for flying objects – all spit takes and such gags are directed out at the audience, a rather zany, inspired touch from a genius actor turned director.

John Lee Beatty’s sumptuous set captures the elegance of a posh hotel suite in the 30s, so vividly realized its as though a penthouse was cut in half and placed onstage. Martin Pakledinaz has once again outdone himself with his period costumes. His eye-popping outfits worn by his leading ladies are especially memorable (the image of Jan Maxwell casting off her fur-lined wrap is a vivid image that will aways stick with me).

Lend Me a Tenor is undoubtedly the hit comedy of the season, and the funniest thing this side of The Norman Conquests. I look forward to making another visit, especially to revel in the genius of Ms. Maxwell, but also in appreciation of Mr. Tucci’s immense achievement. Oh – and for that tour de force curtain call, which is worth the price of admission alone.

How Donna Murphy Got Cora Hoover Hooper

Playbill’s Andrew Gans talks to Donna Murphy on her relationship with Sondheim and her upcoming role as the Mayoress in Encores! Anyone Can Whistle. The following is an excerpt on how she got the part:

‘Murphy is now getting ready to tackle her latest Sondheim role, Mayor Cora Hoover Hooper in the upcoming Encores! production of the short-lived Sondheim-Arthur Laurents musical Anyone Can Whistle, which co-stars Tony winner Sutton Foster and Tony nominee Raul Esparza. It was another multiple Tony winner, however, who Murphy says helped get her the gig: Angela Lansbury, who starred in the original production of Whistle.

“This year [the Drama League was] lucky enough to be honoring [Lansbury], and I was asked by Michael Mayer to learn and sing [Anyone Can Whistle’s] ‘Me and My Town.’ I’d only heard that song once before, and I thought, ‘Oh, what a great song!,’ and I said, ‘Yeah! Yeah!’ . . . I had such a good time, and that night [Lansbury] came up to me afterwards and kind of took me by the shoulders and she said, ‘Have they called you?’ And I said, ‘Who?’ And she said, ‘Encores! Have they called you?’ And I said, ‘No.’ And she said, ‘Why aren’t you doing it?’ And I said, ‘Well, I haven’t been asked.’ She said, ‘I’m calling them! I’m calling them!’ And, it was incredibly flattering, but it was also one of those situations where I [didn’t] know what’s going on [with the casting]. It certainly was on my radar that they were doing this show because any time that there’s a Sondheim show happening, my ears prick up and I’m like, ‘Is there something in it for me?,'” she laughs.’

Does this mean Angie is entitled to ten percent…?

Masterworks Broadway


April Fool’s Day annoys me. Mostly it’s because everyone thinks they’re suddenly writing for The Onion and inundate the interwebs and my email box with attempts to “get me.” As a result, I tend to skip out new on this particular day – both real and faux, just because I prefer the facts (and not to be sallied with countless fake information, etc). However, that said, there is something wonderful happening today – Sony Masterworks is celebrating the launch of the Masterworks Broadway website. I first got wind of the new site a couple months ago and being the musical theatre geek, I immediately signed up for an account. (Come join me!)

The website has been dubbed “Where Show Tunes Take Center Stage” and they are not wrong. A few years ago, due to some corporate blah blah blah, Sony founds itself with both its own Columbia Masterworks catalogue as well as RCA’s. The consolidation brought about the new Masterworks Broadway label in 2006. The new catalogue will eventually feature 400 cast albums (about 275 are already available) and the productions represented have acquired 265 Tony awards, 450 Tony nominations and 27 Grammy Awards. Not too shabby.

Now, to celebrate and to bring it into the era of social media, they’ve decided to create a place for showtune lovers to gather. The aim of the website is to “document the history of the cast album from Finian’s Rainbow (even if Columbia’s first cast album was the 1946 revival of Show Boat, but that’s neither here nor there) to last year’s revival of West Side Story.“

The site allows the individual to establish an account, friend other album enthusiasts as well as browse through the catalog. Masterworks has planned that every single cast album under its label will eventually be released digitally. Some of the more famous titles: Annie, My Fair Lady, Sweeney Todd, Mame, Hello Dolly!, The Producers, A Little Night Music, The Sound of Music, Gypsy, among many many others. But now, many albums that are long out of print or have been hitherto now only available on LP will now be introduced to an entirely new generation of theatregoers (and as one who has collected many obscure LP cast albums, and has had many of them ripped to mp3 use I approve wholeheartedly).

They are continuing to build the site, with more albums to be added. A streaming radio of continuous Broadway musical is up and running. My pal Peter Filichia, who writes for Theatremania, is now hosting a new blog every Tuesday. There are also podcasts, including one recorded for the release of Stephen Sondheim collection The Story So Far and another on the 50th anniversary of The Sound of Music last year. Each recording has its own page and readers can rate, review, and purchase the albums through amazon or itunes. There is of course the obligatory message board forum for folks to rehash the perennial “Merman or Lansbury” debate.

In celebration of the site’s official launch, there will be a giveaway every day in the “You Gotta Get a Gimmick” sweepstakes. Some of the prizes include: A trip for two to NYC to see a Broadway show, the entire Masterworks Broadway catalog (over 275 CDs!), signed copies of Kristin Chenoweth’s memoir A Little Bit Wicked as well as her latest CD A Lovely Way To Spend Christmas, and a rare framed pigment print of Gwen Verdon from the Sony Music archives/ICON Collectibles. Every Tuesday and Friday the site will feature a prize related to the work of Jerry Herman and Stephen Sondheim respectively, including an autographed CD collection of their works. New prizes will continue to be announced throughout the month. Visitors can enter the daily drawing by visiting the site and signing up for free membership.