What’s My Line – Angela Lansbury

Thanks to the Game Show Network, I discovered a lot of old 50s game shows when I was living the life of a night owl at college. However, the one that I always found myself really fascinated with was “What’s My Line,” where a four person panel had to guess the occupation of ordinary folks. The regulars on the show were columnist Dorothy Kilgallen, TV and stage personality Arlene Francis (who brought warmth and charm to the entire series) and publisher Bennett Cerf. Many other stars made guest appearances on the panel, but these three were the mainstays for most of the original run. The host was John Charles Daly (no relation) who moderated all questions.

The special gimmick each week was to have a mystery guest appear on the show. The panelists would be blindfolded and they would have to guess which star was in their midst. Based in NY, the panelists and guests ran the gamut from A-list movie stars to noted politicians and diplomats – practically everyone you could think of appeared on the show during its run, including Eleanor Roosevelt.

For each question wrong, the guest would receive $5, with a limit at $50. For celebrities, their winnings would go to charity. I have to warn you, it’s very easy to get swept up in watching these clips. Sometimes I find myself spending an hour going from one segment to another – just so addicting and a show that I think could still work today, if any daring TV producer decided to revive it.

Anyway, while Angela Lansbury was appearing on Broadway in Mame, she made an appearance as the weekly mystery challenger. Enjoy.

Quote of the Day: Rude Audience Edition

“But rudeness, in my worldview, is not a small crime. When a phone ring rips everyone’s attention from the illusion that has been carefully created in a theater, that’s a kind of violence. When rapt darkness is shattered by the light of one iPhone, I find myself dreaming of mob rule. It is impossible to imagine how jarring this oblivious multi-tasking must be to performers, who, we should remember, see and hear everything in the house.”

-Linda Winer, “Rude Behavior Plagues New York theater,” Newsday

Thinking of Beverly Sills

I didn’t discover Beverly Sills until the last months of her life. I was aware of the American icon through “Live from Lincoln Center” telecasts which she hosted with her trademark down-to-earth amiability and charm, but wasn’t familiar with her actual artistic abilities. The night she hosted The Light in the Piazza, I was there, but while I could see the television lighting for her in the wings at the Beaumont, I never got a glimpse of the great diva herself. It wasn’t until her death in 2007 that I really discovered her greatness thanks to YouTube. I realized while introducing a friend to her with some clips, that I never wrote about Ms. Sills.

Sills was one of the foremost American opera singers, and was a formidable presence in bridging the cultural gap between the world of opera and mainstream entertainment. Her personality made her a popular guest on television shows, including “The Carol Burnett Show” and a famed appearance with Danny Kaye. She was a frequent guest on “The Tonight Show,” and is in fact the only opera singer to have ever guest-hosted in Johnny Carson’s absence. Months before her death, she appeared on “The View” serving as guest co-host during Best Friends week (she and Barbara Walters were especially close).

Her contribution to the arts transcended her professional singing career. When she retired from performing in 1980, she became the General Director of the NYCO, a position she held until 1989. In 1994, she became the Chairman of Lincoln Center. In 2002, she took reigns as the Chairman of the Metropolitan Opera, a position from which she resigned in 2005 due to the declining health of her husband. She raised millions of dollars for the organizations and was as much a staple at Lincoln Center as the fountain in the plaza.

Sills’ battle with cancer made headlines in NY, and as the news became increasingly grim her fans prepared for the worst. When Beverly Sills died of cancer on July 2, 2007, she was fondly remembered for her immense contribution to the world of opera and to the arts in general. Her photo and obituary appeared on the front page of the NY Times the following day and the lights at Lincoln Center were dimmed in her honor. A memorial service was held on September 16 of that year, with performances from Placido Domingo, Anna Netrebko, Natalie Dessay and Nathan Gunn. Speakers at the event included Henry Kissinger, Barbara Walters and Carol Burnett. Other memorial events continued throughout the fall of that year, especially at the NYCO.

Beverly Sills left behind an indelible legacy of talent, arts advocacy and set an example of what it truly means to be a diva. Here are some of my personal favorite clips of the star:

“Una Voce Poco Fa” from Il Barbiere di Siviglia from a 1976 telecast:

Here is “All the Things You Are” from 1973:

A television appearance with Danny Kaye:

And finally, my all time favorite. Here is Ms. Sills appearing on “The Muppet Show” in the debut performance of the new opera Pigoletto.

Neil Simon revivals in rep this fall

If you missed the chance to take in a day of The Norman Conquests, you’ll be able to experience another special event this fall when two of Neil Simon’s most popular plays of the 1980s are revived in repertory this fall at the Nederlander Theatre. There will be opportunities to take in both shows in one day after both shows are up and running.

Tickets go on sale on Friday, August 7 for The Neil Simon Plays, new productions of Brighton Beach Memoirs and Broadway Bound. Specially priced preview tickets for $50-$35 (not including Saturday evening performances) will be available for both plays if ordered by September 6. Regular priced tickets are $100-$65. Tickets will be available at www.Ticketmaster.com.

The first Broadway revivals of two of Simon’s beloved semi-autobiographical “Eugene Jerome” plays will be directed by David Cromer (Our Town) and will play the beautifully restored Nederlander Theatre (208 West 41st Street).

Brighton Beach Memoirs begins previews on Friday, October 2 and opens on Sunday, October 25. Broadway Bound begins previews on Wednesday, November 18 and opens Thursday, December 10. Starting on November 18, the two plays will be performed in repertory on a varied schedule.

Brighton Beach Memoirs and Broadway Bound were two of the longest running Broadway plays of the 1980s. The works ushered in a new era of appreciation for Neil Simon, with praise for the playwright’s hilarious and poignant account of his adolescence, early career and family life in New York in the 1930s and 1940s.

Brighton Beach Memoirs originally opened on March 27, 1983 at the Alvin Theatre and played for 1,299 performances. (During the run of Brighton Beach Memoirs, the Alvin Theatre was renamed The Neil Simon Theatre). Broadway Bound opened on December 4, 1986 at the Broadhurst Theatre, where it played for 756 performances.

Brighton Beach Memoirs stars Laurie Metcalf (Kate Jerome) and Dennis Boutsikaris (Jack Jerome) with Santino Fontana (Stanley Jerome), Jessica Hecht (Blanche), Gracie Bea Lawrence (Laurie), Noah Robbins (Eugene Jerome) and Alexandra Socha (Nora).

Broadway Bound stars Laurie Metcalf (Kate Jerome) and Dennis Boutsikaris (Jack Jerome) with Santino Fontana (Stanley Jerome), Jessica Hecht (Blanche), Josh Grisetti (Eugene Jerome) and Allan Miller (Ben).

Brighton Beach Memoirs centers on young Jewish teen Eugene Morris Jerome and his extended family living in a crowded home in the Brighton Beach section of Brooklyn in 1937: his overworked father, Jack; overbearing mother, Kate; his older brother Stanley; Kate’s widowed sister Blanche and her daughters, Nora and Laurie. As Eugene spends his time daydreaming about a baseball career, he must also cope with his family’s troubles, his awkward discovery of the opposite sex and his developing identity as a writer.

In Broadway Bound, it’s the late 1940s and Eugene and Stanley have started their careers as professional comedy writers. But when the brothers use their home life in Brighton Beach as inspiration for a radio comedy skit, the Jerome family may never be the same.

Scenic design is by John Lee Beatty, costume design is by Jane Greenwood, lighting design is by Brian MacDevitt and sound design is by Josh Schmidt and Fitz Patton. Hair and wig design is by Tom Watson.

The Neil Simon Plays will be produced by Ira Pittelman, Max Cooper, Jeffrey Sine, Scott Delman, Ruth Hendel, Roy Furman, Ben Sprecher/Wendy Federman, Scott Landis and Emanuel Azenberg.

Rehearsals will begin in New York on Monday, August 24.

Prices are $50-$35 for each individual play for tickets ordered by September 6. Regular pricing will be $100-$65.

The Neil Simon Plays will be performed in repertory on a varied schedule. Tickets are available at www.TicketMaster.com or 212-307-4100. The Nederlander Theatre box office will open on August 31st.

The Mystery of Patricia Neway, An Update

Back on July 7, I discussed the whereabouts of Tony-winner Patricia Neway. Conflicting circumstantial information led me to post, calling on our musical and opera sleuths to get to the bottom of the situation. If you recall, information on several websites indicated that her name was actually Frances Breeze, and she retired from performing to teach voice in a university in Virginia, ultimately passing away in 2003.

Well, this comment posted today informed me:

“[Famed American contralto] Florence Kopleff reported to me that she spoke by telephone with Patricia Neway on 8/5/09. Miss Neway is living at home in Vermont. She is disabled by arthritis to the extent that she requires full-time assistance, but is otherwise well and alert.”

So there you have it.

Quote of the Day

Who needs Burn the Floor when Broadway has Angela Lansbury?

“Although it was lacking true star power, the first-night crowd seemed to have more choreographers than you could shake a baton at. If a bomb had fallen on the Longacre, what a boon for Angela Lansbury! She “choreographed” her own trance-dance in Blithe Spirit — and, she said disparagingly, “did it nightly.”

– Harry Haun, Playbill on Opening Night: Burn the Floor

Gwen Verdon – "Walk It Out"

Someone with a lot of time on their hands realized that a vintage clip of Gwen Verdon dancing to “Mexican Breakfast” on 1960s TV synced up with the rapper Unk’s single “Walk It Out.” Reading the commentary, people are discussing how Beyonce emulated these steps. Homage or thief? You decide…

Here’s the original:

Here’s the remixed video:

Random Thoughts on This and That

I’ve been looking over the upcoming season and I gotta say I’m most excited this fall for Hamlet with Jude Law as it’s my favorite Shakespeare tragedy (and I’ve never seen it live), Oleanna because I enjoy Bill Pullman, A Little Night Music because of its rumored cast and the Kennedy Center import of Ragtime. Did I fail to mention Superior Donuts? After August: Osage County, I’ll see anything Tracy Letts writes. I’m trying to think if there’s anything else that I’m forgetting about… Is there anything in particular you are looking forward to?

I’m watching the the 1955 film version of Oklahoma! as I type. For those who don’t know, the film version of the Rodgers and Hammerstein smash was shot twice, once in CinemaScope (an anamorphic lensed widescreen system using an aspect ratio of 2.55:1) and in the brand new Todd-AO, a large format 70mm system developed by Mike Todd. Todd-AO used a wide-angled lens, and a deeply curved screen which was meant to rival the expensive and impractical three camera Cinerama. Todd-AO didn’t require anamorphic image compression and displayed a spherical aspect ratio of 2.20:1.

Each scene was shot twice in each process which means there are two versions of the film available. The most notable difference between the two are the opening credits, but there are also differences in line readings and camera angles. When it originally opened in 1955, the Todd-AO format played the major roadshow engagements in NY and other major markets. The traditional CinemaScope version played other theatres throughout the country. The CinemaScope version made the initial video releases, but was supplanted by the restoration of the Todd-AO print, which was marked with superior sound and image quality. In 2005, 20th Century Fox released a 2-disc special edition containing both versions, though for some reason the Todd-AO transfer doesn’t improve on the 1999 release, except in making it 16:9 friendly. There’s a comprehensive website called the American Widescreen Museum which goes into explicit detail on the history and technological details of these different processes that are for the most part no longer used in filmmaking.

This video of Gloria Grahame singing “I Cain’t Say No” gives you an idea of the different versions:

The following year, Carousel was shot twice in CinemaScope and a process called CinemaScope 55 in an attempt to combat Paramount’s VistaVision process. The new CinemaScope process was an experimentation with 55 mm film that was heralded in both Carousel and The King and I. The idea of shooting Carousel twice is what led Frank Sinatra to quit the project, since he didn’t like the idea of shooting two films for the price of one. Ironically enough, they abandoned the 35mm shoot during filming. CinemaScope 55 was actually never really used: both R&H films were shot in 55mm stock and had their prints reduced onto regular 35mm, since it was more feasible than requiring movie houses to accommodate the unusual film size. From what I understand, the 55mm prints were never even used.

I’m still unable to get The Norman Conquests out of my head. So I decided to watch Table Manners from the 1977 BBC adaptation. It’s an entirely different animal from the recent revival, but it is still quite extraordinary. The television version stars Tony-Award winner Tom Conti as Norman. After Stephen Mangan it is seriously difficult to imagine any other actor in the part and unfortunately Mr. Conti’s performance suffers (The problem here is he’s not nearly as likable in the breakfast scene, in fact he’s downright irritating). David Trougham is a bit too stiff for Tom. However, Richard Briers makes for a game Reg, while Fiona Walker scores as Ruth. Penelope Keith won the bulk of the praise and a BAFTA award for her turn as Sarah (deservedly so – she was the only original London cast member to reprise her role onscreen). It was particular fun discovering that Jessica Hynes’ fellow Shaun of the Dead actor Penelope Wilton played the same role here in the TV adaptation (and quite well). Will be getting around to Living Together and Round and Round the Garden before long.

Sadly, this is out of print on DVD in the UK and has only been released on VHS in the US. BBC America, get on it! However you can get a sampling of it on youtube. Here are the first ten minutes of Table Manners:

There are two weeks left for you to catch Mary Stuart. If you haven’t had the opportunity, run don’t walk to the Broadhurst. Janet McTeer and Harriet Walter are giving titanic performances as Mary and Elizabeth I, respectively. It’s worth the price of admission for the first scene of the second act alone, which depicts the fictional meeting between the two monarchs. The two leading ladies are breathtaking and deserve to be seen, again and again and again. Plus, there’s a fantastic discount code for the rest of the run. This one is not to be missed.

I’m off to Long Island for the weekend. A friend is getting married in Centereach (sadly no East Hampton this trip) and the honor of my presence has been requested, so I will resume my blog perch on Sunday evening. I’ll be thinking of my friends spending some quality time with those titans at the Broadhurst tomorrow while enjoying marital libations.

Thoroughly Modern Angie

At the Oscars in 1968, Angela Lansbury, who was in town with Mame, was asked to perform the Oscar-nominated title song from Thoroughly Modern Millie. It was customary at the time that the song’s originator didn’t sing on the telecast, which is why Julie Andrews didn’t do the honors. Many consider this performance to be an unofficial audition for the film version of Mame. Now, if someone could post Mitzi Gaynor’s showstopping rendition of “Georgy Girl” from the year before (apparently the standing ovation led to a commercial break)…