He Came, He Saw, and Oh, How He Conquered


“I only wanted to make you happy!”

I kept spouting that line at Roxie all day Sunday in my best (worst) English accent. She didn’t really know why I was saying it, but all the same she put up with my antics as usual. For those unfamiliar with The Norman Conquests, or more specifically with Round and Round the Garden, that is the final line of the entire trilogy of plays delivered by Norman at the end of a most hilariously heartbreaking weekend experienced by Norman and his rowdy gang of in-laws.

Truth of the matter is, while Norman drove his family to the brink of exasperation, he and his dysfunctional family (plus one veterinarian) charmed the hell out of audiences in both London and New York. Going back to see it one more time only cemented my initial reaction. If you had the opportunity to spend time at the Circle in the Square this past spring, you know what I mean. If you didn’t, I must say you should be kicking yourself right now for missing the best production of the 2008-09 season.

All six actors were exemplary. I was asked the question “Which is your least favorite?” And there was no way I could begin to answer it. Each performer brought so much to their characters, grounding then with brutal honesty that heightened the emotional stakes. The truer the performance, the more hilariously painful it was.

Ben Miles’ sad sack Tom was just as slow on the uptake, Paul Ritter, whose ass was the subject of the ITBA acceptance speech was as exasperated with his wife as ever, dropping acerbic quips like hydrogen bombs. Amelia Bullmore’s Ruth was more fascinating to watch as she patiently found herself acting more as a mother to Norman rather than a wife. Jessica Hynes is the caregiver of the unseen matriarch, frustrated in her loneliness and seeking an escape even if it is in her brother in law. Amanda Root turned the waspish harridan into an art form with the bossy, high-strung Sarah. Finally, Stephen Mangan was just all childlike innocence, unhappiness and unbridled sexuality rolled into one larger than life star turn. Though Tony voters decided that Roger Robinson gave the performance of the season in Joe Turner, Mr. Mangan, who should have won, gave a performance for the ages.

Roxie and I met up with Kari, who was also returning for a return visit and together we enjoyed our day immersed in the saga of a weekend holiday turned on its ear. The three plays are presented in their suggested order, starting in the morning at 11:30 with Table Manners, taking place in the dining room of the house. The second, Living Together moves the action into the living room (with the infamous rug…). And the final play in the trilogy is Round and Round the Garden that moves the action outdoors. By the time all is said and done that is 7 1/2 hours of theatre over an 11 hour spread.

It’s been said that any one of the plays can be seen on its own, or any combination in any order. However, I must stress that while the a la carte option sounds like a good idea, the full course trilogy marathon days truly allow for an audience member to experience the full exhilaration of the works. Table Manners introduced the characters and provides ample exposition for the remainder. It also doesn’t hurt that the characters in the first scene talks about the unseen Norman at such length, you cannot wait for him to enter. Living Together is still riotous, but provides something of a breather for the audience. In the middle play, there is more attention paid to the underlying problems souring the marriages, adding to the dramatic weight anchoring the characters in this situation. The last play fills in the final gaps, and is a raucous free for all with some of the funniest and most farcical moments of the series, as well as having the first and last scenes of the trilogy’s chronology.

Being the last marathon I had anticipated the entire day being sold out. However, Table Manners was not. Then Kari wisely reminded me it was a Sunday morning in New York City, most people are at church or downing their complimentary mimosas at brunch. Fortunately Roxie and I were seated with some marathon folks, so we had some friendly chatter with them. However there was a couple to our right who I’m almost convinced were apparitions. They didn’t crack a smile or show any response at all during the three plays, not once. After each play, they would mysteriously vanish without a trace. I’m surprised they would stick around for the entire day if they were that disinterested. Fortunately it did nothing to detract us from enjoying the actors and production onstage.

The afternoon show was almost sold out and I’m guessing a lot of seats were filled courtesy of TKTS. Part of the marathon experience that makes it so ideal is that you are already familiar with the characters, their quirks, their faults, etc. If you’ve just seen the earlier play, bits and pieces will be funnier to you than Joe and Jane Smith showing up for the first time. The rows behind us were such people, one even commenting “This must be something to do with the first one.” Folks, they were not wrong.

The final play, also the final performance of this entire production, had a house brimming with excitement and energy. Before the start of the play I realized that there was not a single empty seat to be had, and it was a standing room only crowd. This was a performance filled with friends making another trip to that house somewhere near East Grinstead to cheer on superlative acting and direction. Each actor received extensive entrance applause on his or her entrance. And then we were off on one final side-splitting, melancholic ride.

The curtain call was met with an instant standing ovation, as we cheered on this vibrant ensemble brought together in pure alchemy by the theatre gods and under the direction of genius Matthew Warchus (whose Tony should have been for this not God of Carnage). The standbys emerged from the wings to present each with flowers and a stuffed cat (I didn’t see if there were bandages on the paws). The actors took an immediate second call as is usually the case after the marathon. The house lights came up, and while some audience members got up and left enough of us stayed firmly planted at our seats applauding. The ovation surged louder than before prompting a third and final call for the actors. Since it was performed in the round, the actors bowed in each direction of the audience. Whenever they turned to another section, the cheers were especially stronger. I am rarely one to be vocal at a curtain call, but I couldn’t begin to tell you how many times I called “Bravo!”

I still cannot pick if one play is better than the rest as a stand alone. For me, I still think of the entire trilogy as a mammoth three act play and best experienced as such. You could get away with seeing one, but if you enjoyed it you wouldn’t want to just stop there. The entire trilogy weaves together a tapestry of character and pathos in such a clever and unique way that seeing it all in one sitting is the definitive audience experience.

Alan Ayckbourn’s preface in the published version of the script talks about how the plays came to be written over the course of a single week (!) and the distinctive tones of each. He ends the foreward with this, which is pretty much in line with what I feel about the Norman trilogy:

“This crosswise way of writing them proved very satisfactory though of course made it quite impossible for me, even today, to really judge their effectiveness downwards or indeed to assess, beyond certain limits, whether the plays stand up independently. This is not, I’m afraid, a problem that one single individual can resolve. As soon as one play is read or seen, the other two plays are automatically coloured and affected by the foreknowledge gained from the first – which may sound like some sort of warning, though, in this case I hope, a little knowledge is a pleasurable thing.”

Afterwards we met up with new friends Eden, Lauren and Landice outside as I chose to stage door a production for the first time in over three years. The actors were lovely, gracious, witty and warm (and exhausted) as they signed and posed for pictures with those few of us who waited. It felt nice to be greeted with warm recognition by the three leading ladies, with whom I shared a most memorable elevator ride only a couple weeks before. I don’t normally give in to the stage door, but I had to tell them one last time how much I appreciated the performances and the production. Plus, I wanted to wish them well as all six were flying back home to England the following morning.

Norman only wanted to make us happy, and he did. Strike that. They all did.

Entirely Inappropriate Viewing Tips from the Author:

If you are in the process of reading this, the chances are that you are already about to see, are in the midst of seeing, or have already seen, at least one of the plays that form The Norman Conquests. In which case, this advice is not for you. Do not read on.

For those who have seen none of the plays but may be wishing to do so, it is hoped that the following notes may prove useful.

The first thing to remember is, understandably, don’t see Table Manners first. This will give you a wrong time sequence and will only confuse you when you come to see, say, Living Together, which, incidentally, you are strongly advised not to see second. Ideally, Round and Round the Garden should not be seen before you have seen Table Manners – but do not, on the other hand, fall into that old trap of seeing Round and Round the Garden after Living Together as this again will confuse the sequences of dramatic events. Do not see Living Together first as this will severely curtail a lot of the pleasure you gain from seeing Table Manners for the first time which latter play, for maximum enjoyment you should try and save till the end.

In short, do try and see all three plays first, or, if you really can’t manage this, last. This way you will avoid any disappointment. Like most things in this world, there is a logical progression i.e. parts 1, 3 and finally of course, 2.

-Alan Ayckbourn

This poster was hung in the lobby of the Circle in the Square Theatre for The Norman Conquests revival. Many thanks to Kari for the photo.

Alan Bennett & Patricia Routledge

Since I’m spending my Sunday immersed in the Anglophilia of The Norman Conquests, I figured I would post something very British in honor of the occasion. Alan Bennett considers Patricia Routledge his favorite actress. The British playwright has written a great many things for her to perform over the years, both onstage and on television. Meanwhile here on our side of the pond, I have been talking to a lot of people about the musical 1600 Pennsylvania Avenue and espousing the brilliance of Routledge. I realized there hasn’t been a mention of her in quite some time here, so here is a clip of Pat and Alan on a British talk show in 1992 discussing Talking Heads:

"The Norman Conquests" says goodbye

I wasn’t the only one who was there the other day to spend time with the cast of The Norman Conquests. Broadway.tv talked to all six about their experience.

This weekend is your final opportunity to see a most brilliant ensemble in one of the most thrilling productions Broadway has seen in quite some time. I’ll be at the Sunday trilogy marathon to bid my six favorites a fond farewell. I hope to see you there.

Angela to take Madame Arcati to London?

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…

Here is the article from the Daily Mail:

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.

Mama’s Got the Stuff


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 links from which you can purchase it.

Finian’s Coming Soon…

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?” from the 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.

"The Happy Time" – An Appreciation

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 Time isn’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.

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"One Rap for Yes…Two Raps For No"

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.