Ladies and Gentlemen, Miss Mitzi Gaynor

Most of us remember Mitzi Gaynor from the film adaptation of South Pacific. That landmark adaptation of the Rodgers and Hammerstein stage launched Mitzi into an unusual stardom. She was a product of the studio system, often relegated to supporting roles in musical films. However, South Pacific was a bona fide blockbuster. You would have thought that the success of the film would have catapulted her to the top of the lists for starring roles in film and on Broadway. But for whatever reason, that was not to be the case. After South Pacific, only made three more films.

She was convinced to perform in Las Vegas, where she proved an overwhelming success. One thing led to another, and from her overwhelming success in Vegas she was asked to perform the Oscar-nominated song “Georgy Girl” at the Academy awards in 1967. Gaynor hadn’t seen the film Georgy Girl nor had she ever heard the song, but they staged it elaborately with spectacular choreography and costumes by Bob Mackie. The resulting performance brought about one of the longest standing ovations in Academy award history.

The buzz generated by this one-time performance was enough for television executives to give her a variety special of her own. Produced by her husband and manager, and as she will quickly attest, the real love of her life, Jack Bean, the shows aired once a year for ten years. Ms. Gaynor had Bob Mackie and his eye-poppings designs, as well as the frequent direction and choreography of Tony Charmoli (who choreographed Woman of the Year on Broadway), plus the help of noted choreographers Peter Gennaro, Bob Sidney and Danny Daniels. She was also able to get as many stars as there were in the heavens to make appearances, most notable in her one special Mitzi…and 100 Guys, which saw the likes of Bob Hope (performing a softshoe), Ed Asner, Ted Knight, Mike Connors, Jim Nabors, Andy Griffith Tom Bosley, Michael Landon (in a comic duet of “Delovely”) and a slew of others appear. When asked on WLIW about how she got all of them to appear, her simple answer was “We asked and they said yes!” Each year brought a different theme – and her one-hour specials turned out to be landslide winners in the ratings.

To celebrate the 50th anniversary of South Pacific and the 40th anniversary of her first special, the simply titled Mitzi, a new DVD documentary has been released by City Lights Home Entertainment called Mitzi Gaynor: The Razzle-Dazzle Years, an introspective into the television specials with extensive footage of the shows as well as indepth memories from Ms. Gaynor herself, as well as Rex Reed, Kristin Chenoweth, Carl Reiner, Bob Mackie, Tony Charmoli and Kelli O’Hara. Ms. Gaynor herself is nothing short of gracious and humble, having a sense of humor about herself but also quick to give credit to everyone around her.

Looking at her perform throughout these specials, I can’t help but think of the variety of musical theatre roles she could have played in NY. From the lavishness of her specials, the first show that pops into my head is Mame. But I could also see her performing in Sweet Charity or Chicago as well. (Many of her costumes gave the censors agita, because they were rather coyly suggestive, especially during the ’70s, even though you really can’t see anything. After all, Mitzi is first and foremost a lady). Broadway’s loss was certainly television’s gain here.

Included on the DVD are several complete performances from her specials, including “Mitzi & Friends Salute Sondheim’s Company, with Jerry Orbach, Ted Knight, Suzanne Pleshette, Jane Withers and Cliff Norton performing “The Little Things You Do Together” set at a sophisticated dinner party in NY. Seeing the phenomenal Pleshette (yes she sings, in a baritone shades of Stritch and Bacall) here leads me to wonder if anyone ever thought of casting her as Joanne in Company. There are also some sketches, an outtake from the documentary about her appearance on the show the night the Beatles were on and a featurette with Mitzi and Bob Mackie discussing the costumes.

The performance footage seen on this documentary and in the bonus features has not been seen since the specials aired between 1968 and 1978. However, it would have been fun to see her showstopping performance at the Academy Awards on here, but I guess rights weren’t available.

Mitzi is anecdotal and warm, a complete delight to hear with many interesting stories about the people with whom she worked and an uncanny knack for impersonation. (And like I said, undeniably gracious and humble). It’s definitely worth taking a look as its probably in the listings for your local public broadcasting station (they are getting their pledge on!)

Hyacinth wants a part in "The Boy Friend"

One of Patricia Routledge’s most inspired moments as social climber Hyacinth Bucket on the Britcom Keeping Up Appearances. Emmet, the next door neighbor who she constantly “sings at,” is director of the local amateur opera company, who is putting on a production of The Boy Friend. Deliciously oblivious Hyacinth, who fancies herself a great musician and singer, drops some far-from-subtle hints that she wants a part. Hilarity ensues.

Quote of the Day: August in London

“Vulnerable, angry and thoroughly transfixing, [Amy] Morton has forged one of the great theatrical performances of the modern era. Like the rest of this remarkable show, it stares out from the stage with surety and terror.”

– Chris Jones, in his review of the London transfer of August: Osage County in the Chicago Tribune’s Theatre Loop

“You know you’re in for a lively evening when a play about a family reunion includes a fight director among the team. And how satisfying that he’s called Chuck, too.”

– Christopher Hart in the Sunday Times

“Maybe Letts invites comparisons, a tad too obviously, with other canonical greats: Eugene O’Neill, Tennessee Williams, Edward Albee. But what’s really joyous is his emergent Chekhovian talent for weaving a broad tapestry, depicting a whole extended household. He combines that with pin-sharp detailing which rings painfully true. Amy Morton’s Barbara is unforgettable, howling with grief, then distractedly brushing her hair.”

– Kate Bassett in the Independent

“Watching manipulative, mischievous Dunagan, or bruised, angry Morton or brassy Rondi Reed or any of Anna Shapiro’s terrific ensemble, you ruefully ask an obvious question. Could a British cast bring such commitment and conviction to this subversive take on Oklahoma!? Surely not.”

– Benedict Nightingale in the Times

A Helluva Town

Here’s the round-up on all my recent adventures into NY…

Dividing the Estate 11/20 – I love an opening night show. Who doesn’t? You are there for the official first performance. Regardless of whether or not the show is a success, you were there for the performance that will put it into the annals of Broadway history books. Electric, starry and a chance to really dress it up too. The play, by Horton Foote, offers fascinating characters and intriguing ideas, but the result is rather middling. It felt more to me like a revival of a pre-Miller work, with its rather archaic plot machinations and contrivances. That’s not to belittle the ideas behind the work: those complicated familial associations with property and money that cloud all else. Stellar cast. Elizabeth Ashley is a hoot as the aging matriarch, Penny Fuller is the epitome of honesty in her performance (and she looks two decades younger than she is) and Hallie Foote (the playwright’s daughter and definitive interpreter) all but walks away with her study of avarice and solipcism. (Did her vocal inflection remind anyone else of Kim Stanley’s voice over narration at the beginning of To Kill a Mockingbird? Incidentally, Horton Foote won an Oscar for the screenplay). I don’t know if I’ve ever been so angry at a character, yet simultaneously in total admiration of the performance behind it. Not even the ladies who’ve played Violet Weston have had that effect. Gerald McRaney makes his Broadway debut as the ne’er-do-well brother (who drinks…) and Arthur French provides a memorable supporting turn as the ancient servant who refuses to retire. Comparisons to the titan August: Osage County are inevitable, but this is really as Noah put it, August lite. The opening crowd gave 92 year old Foote a standing ovation. Runs through January 4th at the Booth. Required viewing for the three leading ladies, but especially Ms. Foote.

On the Town 11/23 – The classic Broadway debut of Leonard Bernstein, Betty Comden and Adolph Green hasn’t fared well with time. The film version eliminated almost the entire score (far too sophisticated and raunchy for studio executives) and Broadway revisals in 1971 and 1998 were failures. Thanks to Encores! we got the chance to hear Bernstein’s first stage score as part of the innumerable festivities celebrating his 90th birthday. The show started with the National Anthem, a replication of the original 1944 production which opened during the last year of the Second World War (timely then, and sadly enough, timely now). Instantaneously, the entire audience stood. People started to sing a little bit, quietly to themselves, and infectiously more and more people started to join in with the volume increasing until the entire City Center audience was singing full volume for the final phrase. One of those beautiful communal moments that has such a beautiful effect on a person. As for the show: those orchestrations, those dance arrangements, those Comden and Green lyrics, their cartoonish but endearing book. All loads of musical comedy fun. Tony Yazbeck is a star on the rise: those looks, that voice and the sincerity of his acting. Did I mention he dances like an heir to Gene Kelly? (You know, why didn’t Roundabout cast him as Joey?) Christian Borle and Justin Bohon provided stellar support as Ozzie and Chip. Jennifer Laura Thompson is one hell of a funny soprano. Leslie Kritzer belted the hell out of the score, but her comedy was a bit forced. And then there was Andrea Martin, an absolute riot from start to finish as Madame Dilly, the perpetually soused instructor at Carnegie Hall who tore up the scenery in her few scenes (with her help, my beloved “Carnegie Hall Pavane” stopped the show). Roxie and I made our usual pilgrimage to the Park Cafe, but there was no sign of Rifke or Mireleh. Next up from the Encores! crew is a rare revival of Kern & Hammerstein’s Music in the Air in February.

Jonathan Tunick & Barbara Cook at Birdland 11/24 – This joyous evening came about thanks to Sarah, who had an extra ticket. I’d never been to Birdland and it turns out that it’s one of the most enjoyably intimate spaces I’ve ever been in. A total throwback to those nightclubs you see in the 40s and 50s movies. The only thing missing, the two of us agreed, was a dance floor. The prices are right and the food and drinks were fantastic. Tunick leads the Broadway Moonlighters, a fantastic brassy band made up of players from Broadway shows. They gave us a fantastic evening of entertainment with arrangements of “Strike Up the Band,” “Lazy Afternoon,” the overture for Merrily We Roll Along, two original pieces by Tunick “Buffet Luncheon” and “Pumpkin Lane” (which he named after an exit on the Taconic State Parkway). Midway through the set, they introduced their girl singer: Ms. Barbara Cook who sang a few choice favorites and this inestimable treasure provided us with a few vocal selections, including Gershwin’s “Nashville Nightingale,” “Sooner or Later” (not the Sondheim, but from Song of the South), and a lovely rendition of “Autumn in New York.” The evening wrapped up with a sing-a-long rendition of “Let it Snow!” and several encores, capped with “Lullaby of Birdland.” We were among some of the greats of the NY scene. Priscilla Lopez, Kelly Bishop, Margaret Colin, Ron Raines, Marni Nixon, Alice Playten were some of the stars out on the town. I had the pleasure of meeting the effervescent Kate Baldwin, one of the loveliest singing actresses in town (who will be on an upcoming SVU so be on the lookout!) and my candidate to play Ellen Roe in Donnybrook! should Encores take the initiative. I also got to meet Harvey Evans, a perfect gentleman and one of the nicest people in show business. The party didn’t end there: we went to Angus’ for a nightcap and further good times with good friends.

Road Show 11/29 – I have never had the privilege of seeing a new Sondheim show until now. Although it’s not entirely new,  the show, a labor of love (quite possibly an obsession) for Sondheim, was work-shopped as Wise Guys (dir: Sam Mendes; Nathan Lane & Victor Garber) in 1999, played regional engagements as Bounce (dir: Harold Prince; Richard Kind & Howard McGillin) in 2003 has finally made its way into New York as Road Show (dir: John Doyle; Alexander Gemignani & Michael Cerveris) in 2008. The musical, about the Mizner brothers, has been given a dark, conceptual staging here at the Public that was rather unengaging, unemotional and ultimately rather uninteresting. The show has been scaled back considerably with a unit set, intermissionless hour and forty minute running time. Gemignani and Cerveris provide excellent performances, carrying the evening. Doyle’s directorial choices bothered me, particularly his favorite: two actors talking to each other while facing front. However, the costumes by Ann Hould-Ward are incredibly clever, especially having the opportunity to see the work up close as the actor’s collected for BC/EFA. The score sounds like a Sondheim piece, those discordant synocopated vamps and his usual lyrical wordplay (though I think here his composition outshone his text); but aside from “You” and “The Best Thing That Has Ever Happened,” (what a song!) there wasn’t too much that stood out. As I walked away two musical lines were trapped in my head: “Everybody’s Got the Right” from Assassins and the line “Ooh your song’s derivative” from “Die, Vampire, Die” out of [tos]. (Watch Road Show be declared a masterpiece in ten or twenty years and watch us naysayers changing our critical tunes). Newcomer Claybourne Elder was an endearing well-sung presence as Addison’s lover Hollis. Alma Cuervo, William Parry and Anne L. Nathan did the best with what they were given, which wasn’t much. I went into this knowing the divisive opinions on the show and the mixed critical response, however, I was hoping beyond hope that I would enjoy the play, but overall Road Show just isn’t that compelling. The day wasn’t a total disappointment: I got to roam much of Manhattan with my very good friend Chris Lavin (Follies enthusiast and a discerning and observational writer who needs a blog of his own – I know you’re reading this Chris, and I mean it). Visited a new favorite haunt, the Drama Book Shop and was lucky to just have a wonderful day in NYC. Let it be said, while I didn’t care for the show (I quipped to several friends that I had just seen Road Kill), he loved it. And you know what that means, kids. Sondheim definitely has a new show in town.

The Definitive Eve…

Alright, so Applause isn’t exactly brilliance. In fact, considering the rather leaden Encores! concert from last season, it’s far from it. However, what is brilliance is Penny Fuller’s interpretation of the role of Eve. In fact, it is the only thing that keeps the telemovie version of the musical afloat. (From what I’ve been told, Tony winner Lauren Bacall was worlds better live in performance than she is here). For as much as I enjoy the film, I feel after having seen the Eves of Anne Baxter, Penny Fuller and Little Evie – er Erin Davie… that Fuller best encapsulates the character. She only gets to sing two numbers, including this ferociously explosive ironic reprise of “But Alive” toward the end of the second act that brought down the house (preceding the dead on arrival “Something Greater” for Lauren Bacall to all but resign herself to June Cleaver’s kitchen). I have to admit, it’s not a strong song as written but she sure as hell sells it.

Penny still looks fantastic and is giving one of the most honest performances on a NY stage right now in Dividing the Estate (look for more on that in the near future). She also gets to sing a little but, sounding exactly as she did almost forty years ago which prompts the question: why hasn’t she been in any musicals lately?

Design for One

Here is an original sketch of Tony Walton’s costume design for Ken Howard as Teddy Roosevelt from the original production of 1600 Pennsylvania Avenue, before he removed his name from the production and his work was replaced by others. Now if only we could see what Patricia Routledge’s costume looked like for her famed “Duet for One.” I think there should be a field trip to the appropriate research facilities to find as many press photos as possible. Are you with me, gang…

Quote of the Day

“And that audience! Omigod! You know what’s great? The audience is a palpable part of the evening — which is what you’re always hoping for. As an actor in the theatre, you want the audience to be vitally, dynamically involved — and they are with this. It’s not realistic. It’s not naturalistic. It’s just pure theatre…. The very first night I thought, ‘Wow! This is like a wall of security — this audience energy. It’s fabulous.’ Every performance is different. That’s why it might be possible to play it forever, whereas with ordinary plays four months is about as long as I can take it without sorta doubling back on ‘What am I doing here?’ I’m hoping they’ll invite me to do the tour, because I love to tour. That’s the plan in my head. It’s starting in August 2009 in San Francisco. I just would really love to tour with it to see how it is in other cities. I love exploring.”

“Deanna said to me, ‘Y’know, I’m only leaving because they won’t let me do six a week.’ So I immediately called the producers and my agent and said, ‘What am I, some kind of lamb being led to the slaughter here that I’m expected to do eight when the woman who has been doing it says she can only do six?’ But she’s a very different person than me and probably not quite as strong. I have a 50 percent strain of Swedish peasant blood, not to mention that the other half is Old New England.”

– Estelle Parsons in a new article for Playbill

History repeats itself…

Christian Hoff has been replaced in title role in Roundabout’s Pal Joey revival by his understudy Matthew Risch after suffering from a foot injury this past weekend. However, many people on the web boards have speculated that the injury itself is perhaps some sort of cover for Hoff’s departure, especially considering the eviscerating word of mouth he was receiving for his first few preview performances.

Coincidentally, the last Broadway revival of the show in 1976 saw stars Edward Villella and Eleanor Parker replaced by Christopher Chadman and Joan Copeland during previews. (That production, which played the Circle in the Square for 73 performances, featured Dixie Carter as Melba, who also played Vera regionally – an inspired choice).

Hmmm….