What a Good Day is Saturday

(10 points if you can name the musical referenced in the post’s title).

Prologue:

I awoke bright eyed and bushy-tailed in anticipation for the day. Last month, I received a quick IM from Sarah about meeting up with some of the blog crew who were going to be in town. Though I sadly missed the last gathering back in August (I think…? or was it July? Ugh. These decades…) there was nothing stopping me from going in for some unbelievably genial conversation with a little alcohol on the side. Two days earlier, I had also received a message from a friend from college, Russ, who as a member of TDF said that he was going to the matinee of [title of show] and would I care to join him. In my euphoria, I said “Yes.”

Anyway, now I had the opportunity to take in the first new musical of the Broadway season, the little show that could, trekking from the New York Musical Theatre Festival, climbing up the mountain to the Lyceum on 45th Street and Broadway.

Act I:

I arrived in NY around quarter after one in the afternoon. I generally take the Metro North into the city – it’s efficient and I can connect with the shuttle to Times Square to blaze a trail through maps and cameras and the stodgy awestruck tourists who instantaneously make me feel like a territorial native. Met up with Russ, who I haven’t seen in a couple of years, and we headed on over to the Lyceum.

Confessional: I had listened to the cast album when it first came out. I appreciated the cleverness, but it didn’t stick with me as I thought it would. This was when it had closed off-Broadway. There were grumblings of Broadway happenings, but the cynic-who-has-seen-it-all side of me said “Naah, it’ll never happen.” Well, and Dewey defeats Truman to you too. End confessional.

Anyway, I started to get really excited to see the show. Several people told me that they didn’t think I would enjoy it, which is why I was apprehensive of dropping what little funds I have on the show. Then Russ came through with his TDF offer. Well at these prices, I’ll be your ecdysiast, press agent and prophet. The excitement was made more palpable with the numerous people volunteering to promote the show around Times Square, handing out flyers promoting the show to passersby. When one gave me one, Russ said we were already seeing the show. The kid looked like he won the lottery. That sort of grassroots-guerrilla optimism makes me feel, I don’t know what exactly the word I would use here. Happy? Too genial. Content? Not enough chutzpah. Rhapsodic? Well not yet. But getting there. But I digress…

Well, my enthusiasm grew tenfold when we reached the mezzanine. Our usher, a diminutive middle aged mom, immediately asked us with great fervor if this was our first time seeing the show. We said yes. And she let out a sigh “Ohhhhhh, I wish I could sit and watch your reactions!!” She then proceeded to tell us that we would love it, with the passion usually reserved for a proud stage mother. Deciding that at 90 minutes without an intermission, I should use the facilities just for good measure, I happened into a second conversation with the usher. This time we discussed Souvenir and espoused the virtues of its dynamo star Judy Kaye (and that they should have cut back on the Cosme McMoon solos). It was upon the entrance of an enthused [tos]ser (as they’re called, not being a crass Brit here) who was seeing the show that I learned of the true extension of the grassroots campaign. The mezzanine was filled with many patrons who had been convinced by the eager volunteers to come see the show. Then I took my seat as maestro (and fifth cast member) Larry Pressgrove took his spot at the keyboard onstage.

How does one go about describing [title of show]? It’s not that easy I guess. I’ve heard it called a musical about people writing a musical about writing a musical. The show’s charms lie in its simplicity, quirky charm and personality, and most importantly, its heart. I could on and on about the things that make the show so engaging for an audience. Written by Hunter Bell (book) and Jeff Bowen (score), the show stars these two gentlemen and their friends Heidi Blickenstaff and Susan Blackwell, all playing themselves. The ninety minute show, which zips along at a most enjoyable pace (kudos to Michael Berresse’s nimble direction and choreography), follows the creation of the musical we are seeing, a meta-musical and one of the most original of all original musicals. It starts with the simple idea of writing about what they know (which includes horribly tacky television and the occasional cult flop musical) through the opening on Broadway. The musical, small in its scope and its size (four chairs and an onstage piano are all they need. Well… that and a turkey burger), is a continuation of the back-stage musical.

When I say, I loved it, part of it is that I felt as if I was watching a musical that had been written by people I know. I am fortunate to know many creative people like the four actors onstage, personalities both eccentric and endearing. (I also know the other kind; the ones that suck your soul dry with their solipsism, thankfully they stayed home). The talent, the humor, the warmth, the insecurities; all of these elements can be identified with anyone who’s ever taken a theatre course. In an era where it’s in vogue to have tongue-in-cheek musicals that make fun of the genre, it was really refreshing to find a tongue-in-cheek musical that celebrates it. There is a lot of heart onstage at the Lyceum and it is reason to rejoice.

Watching [tos], there are many things to love. Jeff collects playbills of shows that run 50 performances or less. Susan is the witty, self-deprecating, self-proclaimed “corporate whore,” Heidi is the one with established Broadway street cred and is the strongest singer of the quartet. And Hunter is Hunter, quite possibly the bravest individual onstage (with poor grammar). Two of the best running gags in this musical comedy: the drag queen names (Lady Footlockah, Tulita Pepsi, Dorothy Chandler Pavilion, etc.) and the answering machine messages. The latter is especially amusing as it provides cameos for many of the great contemporary divas, with each message getting successively funnier and funnier. Favorites included Vicki Clark’s breathless ramble about her son’s schedule, Patti LuPone’s strident request that the gentlemen stop bothering her and quite possibly the best of them all, Christine Ebersole – and you have to see the show in order to find out what she says…

Then there is the score. They have had fun musicalizing the text book moments, the opening number, the want/am song, etc. However there are three numbers that stood out above the rest. “Die, Vampire, Die” a treatise on the varying insecurities and voices in our lives that stop us dead in our tracks when we try to be anything creative. Whether it be a rival, a family member or friend, or more significantly, ourselves. I think we’ve all been plagued by such things that set us back from doing. We live in our heads and suffer as a result. “A Way Back to Then” examines those moments in our childhood when the seed was planted; the moment where a person realizes what they want to do more than anything (also before the harsher realities of life and specifically the entertainment industry can darken the sunniest of dispositions). For Heidi it involves her Kool-Aid stained lip and Andrea McArdle belting on the wi-fi. Touching, nostalgic and incredibly spot on and beautifully sung.

Then came the eleven o’clock number. “Nine People’s Favorite Thing.” In much of the press, message boards and blog posts about the show, this is the phrase that I see most. The gist of the number is that they would rather be nine people’s favorite thing than a hundred people’s ninth favorite thing. (a quote, I might add). Roxie attended the opening night of the show back in July and told me almost immediately about the response the show received, including a full-out Routledge (to help the uninformed: our word for a mid-show standing ovation, named for Pat R). You can read her report on the festivities here. The song expresses emotionally what many of us in our early creative minds like to think – and I for one say about myself, my blog and anything else I may do: let it be the Rice Krispie treat.

The show, in spite of its incredibly obscure and remote references to various shows and individuals, (If you haven’t enjoyed Mary Stout on “Remember WENN,” you have no idea what you’re missing. Non sequitur, that isn’t really a non-sequitur: Rupert Holmes. AMC. Somebody! Release that show on DVD!) does manage to have some mainstream appeal in its underlying ideas regarding art, the creative process and the idealistic dreams vs. the darker realities of venturing into a career in show business. Sadly though, in spite of positive reviews and a cult following to die for, the show has been struggling. The box office numbers have been grim, as they’ve barely filled a third of a Lyceum Theatre each week. The show is set to close on October 12, though the cast and fans aren’t going down without a fight. There is a grassroots campaign to bring people into the theatre, get the [tos] crowd on Ellen and help rescind the closing notice. (Truth be told, the show probably could have had a decent run at an off-Broadway house or at one of the smaller Broadway venues like the Helen Hayes or Circle in the Square). I wish them well and hope I can get back one more time.

Act II

After the show, I ventured around Times Square for a bit, stopping in at the lame duck Virgin Megastore for a quick browse before heading to a preplanned dinner at Sardi’s with fellow bloggers. As Doug put it at the dinner table, it was my virgin experience at the famed restaurant. Truth be told, and this may surprise many of you, I never really felt the need to go in. A pilgrimage to the defunct Mark Hellinger Theater is a necessity, but Sardi’s no? Yes, I have bizarre priorities. But don’t we all?

Anyway, I got to visit with Lady Iris, whose mother had come into Texas for a spell, Steve on Broadway and his partner Doug. I met two bloggers for the first time: Chris from Everything I Know I Learned from Musicals and Alicia from Things You’ll Learn to Love About Me. And the good times rang out like freedom. After ordering my requisite White Russian, I opened the menu at which I stared at for about 10 minutes before realizing I had to order. The ancient waiter hovered over me until I picked something. What I wanted they didn’t have, so I ended up picking something at random. It’s always fun getting together with the blog crew catching up on what people have seen, their thoughts on current shows and the generally genial nature of the experience. Plans to see Wicked in Amsterdam? Only if the mind is altered kids…

The blog crew dispersed, most going to see evening shows. However, the night didn’t end there for me. I didn’t plan on seeing an evening show, but met up with my friend Matt who was down to meet friends. We trekked up to White Plains to meet other mutual friends, where I got to discuss title of show with a couple of people who were friends of friends and theatre lovers as well. (Got it?) The night ended with Tina Fey – as Sarah Palin on SNL (it’s sad that she is the only reason to tune in) and then a couple episodes of 30 Rock. If only every day could be as perfect, no?

And then I woke up…

Wishing Carol Channing a speedy recovery!

It’s been reported today that the 87 year old legend has broken her femur and hip in a fall, which caused her to cancel a performance scheduled for this Thursday, marking the first time that Channing has ever missed a performance in her entire career. Channing has been the epitome of “the show must go on” professionalism, having gone on with broken ribs, post surgery and I read once she even went on in a wheel chair. (I seem to recall her recounting how the one time she threw up in decades was during an inflight showing of the film adaptation of Hello, Dolly!) Though she has gone on in the past, the doctor’s insisted this time she take some time to rest and recuperate. Hopefully, she’ll be back up on her feet in no time. Get well soon, Carol!

Emmy Roundup

It was the final game at Yankee Stadium this evening, so I have actually not been watching the regularly scheduled programming called “The Emmy’s.” Truth be told, I’ve never been as big on the Emmy awards as I am on the Tonys or especially the Oscars.

But tonight isn’t necessarily a night to just discuss the Emmys. For me it becomes a night for New York – especially with the number of NY based shows and theatre actors who are being celebrated this evening. The stadium that Ruth built, one of the great icons of our city, is ending its 85 year run tonight. Later this week, the Mets will play their last game at Shea stadium, but with all due respect, they have nothing on the legacy left by the Bronx Bombers and their home. Starting next season, they will play at the new Yankee Stadium, which is in its design more akin to the 1923 stadium than the 1976 revision. Anyway, the evening’s festivities and memories felt more like a New Orleans funeral for someone who was still living than anything else. It was a great night to be a New Yorker. It was a terrible night if you were involved in the Emmy Awards telecast.

I did catch more of the Emmys towards the close of the ceremony and missed seeing the opening live on TV. I caught it on the internet later. My mistake. I have never seen anything worse than the five Emmy hosts filling dead air with nothing. It was an offense to writers everywhere, not to mention the intelligence of those in the audience and the few watching at home. (I wouldn’t be surprised if the worst-ever ratings were a result of thousands reaching for the remotes in the first ten minutes). My brief rant: you had Stephen Colbert, Jon Stewart, Jimmy Kimmel, Craig Ferguson, and Conan O’Brien in the house. Hell, Don Rickles would have done a better job without a script at 82 than the reality hosts. (Let’s face it, reality shows: you’re the Jackie Collins of television).

However, almost more embarrassing than that was the horrifying medley of TV themes as performed by Josh Groban. I think the only performer who could have successfully given such a manic performance packed with as many songs would have been the late great Dorothy Loudon. If you saw it, you know how bad it was.

However, there was much to celebrate. AMC’s Mad Men, set in NY and featuring many contemporary theatre actors, took the prize for Best Drama Series, a first for basic cable. My beloved 30 Rock took Comedy Series for the second year in a row. John Adams was Best Miniseries.

Theatre actors were winning in droves: Jeremy Piven (Entourage), Jean Smart (Samantha Who?), Dianne Wiest (In Treatment), Zeljko Ivanek (Damages), Glenn Close (Damages), Alec Baldwin (30 Rock), Laura Linney (John Adams), Paul Giamatti (John Adams) and Eileen Atkins (Cranford) have all tread the boards on Broadway. (Okay, so Piven has yet to make his debut, but he was in rehearsals before he was a winner – and is starting previews next week, so I’m giving him a pass here!) Tom Wilkinson (John Adams) has done extensive theatre work in London.

Props to Tina Fey, whom co-star Alec Baldwin called “the Elaine May of her generation” in his acceptance speech, on winning three awards for the fantastic, NY-based satire on the television industry, 30 Rock. Best Writing. Best Actress. Best Comedy Series. That says a lot about this brilliant writer’s ability. (Sarah Palin anyone?) This show is the funniest thing on TV you are probably not watching, at least if we use the ratings as a gauge. Season 1 is out on DVD and 2 will be out shortly, so be sure to catch up. The episodes are sharp, well-written and unexpected in their unending hilarity and wit. Jane Krakowski, Tracy Morgan, Jack McBrayer costar. Guest stars have included Isabella Rossellini, Paul Reubens, Al Roker, Chris Mathews, Tucker Carlson, Elaine Stritch (in an Emmy-winning turn season one), Steve Buscemi, Tim Conway (winning this year), Carrie Fisher, Edie Falco, David Schwimmer, Al Gore, Rip Torn, Will Arnett and Sean Hayes. In the upcoming season (which starts on October 30) Jennifer Aniston and Oprah are among the stars making appearances.

Next year, get a host!

Well, Hello Dolly!

It’s being reported widely how Dolly Parton saved the world premiere performance of her new out of town musical adaptation of the hit movie 9 to 5. As is the case with many shows just getting up on their feet, problems with scenery and changes are likely and can bring the proceedings to a screeching halt. However, many shows don’t have someone like Dolly who can keep the audience engaged with her genuine warmth and personality (not to mention voice). What a night it was too, considering Jane Fonda, Lily Tomlin and Dabney Coleman were all in attendance as well. Must have been some treat for the audience. Perhaps when this is done, Dolly should consider a one woman show?

Here is a recap of the first night performance from the KTLA Morning news blog:

She has doubtlessly performed on thousands of concert stages all around the world; but Saturday night at the World Premiere of the stage musical version of her very own “9 to 5,” Dolly Parton had to save opening night, by performing, completely impromptu, from the audience.

Parton, was among a star studded crowd; including fellow ‘9 to 5’ film cast members Jane Fonda, Lily Tomlin, and Dabney Coleman; all of whom were on hand to see the Broadway Bound musical based on the movie from 1979.

Dozens of other stars were in Los Angeles’ Ahmanson Theater, including, Gabriel Byrne, Tracey Ullman, Blythe Danner and Jason Alexander; when the show was stopped cold about 15 minutes into the performance by “technical difficulties.”

Allison Janney, Stephanie J. Block and Megan Hilty; playing the roles Tomlin, Fonda and Parton made famous in the movie, were in the midst of a scene change, when the curtain came down and an announcer informed a stunned audience that the show would be stopped for a few minutes because of some technical problems.

As the minutes dragged on and on, a clearly restless audience was cheered when Parton stood-up right from her seat in the middle of the theater and said; “If they can’t perform the show, I’ll do some of it from right here.” Parton then proceeded to lead the entire audience in a sing-a-long version of the title song ‘9 to 5.’ That number, drew a rousing ovation from the crowd; but the delay wasn’t done and neither was Dolly.

Audience members could hear construction equipment like power drills and saws at work while Dolly continued to charm the audience with a talk about the origins of the musical show; as well as introducing her ‘9 to 5’ film co-stars. As the delay continued, Parton offered to take questions from the audience; and then asked if the audience would like for her to sing another song; ‘I Will Always Love You.’ Before beginning the second number Dolly told the crowd, “Maybe I’ll wait, in case things get screwed up again and I have to fill more time.”

After a complete set of about 20 minutes of both song and chatter the show resumed.

The audience remained in a great mood, and very open to the rest of the show, thanks entirely to Dolly and her efforts. The remainder of the musical went off without a hitch and was greeted with a long standing ovation.

However some theater veterans in the crowd could be overheard saying that the show will certainly need a few tweaks before a scheduled April 2009 opening on Broadway.

In my view, the show was about “85 percent there.” There seem to be a few “filler” numbers, and a few scenes that I think might make some people simply uncomfortable. Does Dolly have a sure-fire musical theater hit on her hands? I can’t honestly be certain. But there is no doubt that a potential opening night disaster was clearly diffused by a very talented and more than willing to “wing-it” Dolly Parton.

Quote of the Day, Emmy Edition

It’s a fact that awards aren’t necessarily the best indicator of quality. That doesn’t make it any less shocking that Angela Lansbury has been nominated 18 times but never won an Emmy

After seven decades in showbiz, she’s a living legend, with four Tonys, six Golden Globes and three Oscar nods. But the role she’s most known for — mystery novelist-cum-amateur-sleuth Jessica Fletcher on ‘Murder, She Wrote’ — earned her 12 Emmy noms (no wins), for a career total of 18 … and she never complained like Susan Lucci.

– AOL’s profile of this weekend’s Emmy awards

It really is a travesty that the highest award in television has never been bestowed on Lansbury, but looking at the other actors in this list, she enjoys the esteemed company of Gracie Allen, George Burns, Sherman Hemsley, Michael Landon (who was never Emmy-nominated once over the course of three series, 652 episodes of television!), Bob Newhart, Jane Kaczmarek, Jason Alexander, Buddy Ebsen, Desi Arnaz, Andy Griffith and Jackie Gleason.

Well, there’s always a place on Broadway for Angie. So come back to us as Madame Arcati in the spring revival of Blithe Spirit and clear your mantle for a fifth Tony!!

A Man for All Seasons

“More is a man of an angel’s wit and singular learning; I know not his fellow. For where is the man of that gentleness, lowliness, and affability? And as time requireth a man of marvellous mirth and pastimes; and sometimes of as sad gravity: a man for all seasons.”

-Robert Whittinton, on Sir Thomas More, 1520

Get thee to the Roundabout revival of A Man for All Seasons! I had the great fortune to attend the fourth preview on Sunday with Sarah and must say it’s well on its way to being one of the highlights of the season. There is one reason and one reason alone that makes attendance mandatory: Frank Langella as Sir Thomas More. When Langella is onstage, which is for almost the entire running time of the play, the combination of Robert Bolt’s prose and Langella’s formidable talent provides an affecting lyricism, as we watch a man of such integrity refuse to compromise his morals and ideals for political reasons.

Sir Thomas More is a fascinating individual. He was noted as an author, lawyer and statesman. He insisted that his daughters be educated as well as his sons, especially rare in the 16th century. In Robert Bolt’s play, the playwright gives us a human portrait of one of the most respected statesmen in the history of England. More, who was one of King Henry VIII’s favorites, would meet his end when he couldn’t compromise his own moral beliefs and integrity and swear allegiance to Henry, who so desired a male heir that he would split from the Church in Rome, starting the Church of England. When More refused to take the mandatory oath of allegiance to the Act of Succession, which recognized Henry’s second wife, Anne Boleyn as his wife and their children as heirs to the throne of England, he was tried for treason and was executed by beheading on Tower Hill at the Tower of London. More was canonized a saint by the Roman Catholic Church and also has a feast day on the Anglican calendar.

(It should be mentioned that while the play portrays the man as being born with a halo, he was vehemently against Protestant Reformation, leading a violent scourge of Lutheranism in England which included the burning several people at the stake for heresy. Well… nobody’s perfect).

Bolt, a noted agnostic, was not so much interested in the religious implications surrounding the character of More, but moreso as a man of conscience and integrity, who refused to bend to the whim of the King. The play had a moderately successful run in London in 1960 and later opened on Broadway in 1961, where it was an even bigger success winning the Tony award for Best Play. The play was made into a film in 1966, directed by Fred Zinnemann and starring Paul Scofield, who had originated the role of More in London and on Broadway to Tony-winning effect. The film would prove an overwhelming success, winning six Oscars including Best Picture, Best Actor for Scofield and Best Screenplay for Bolt. A second film adaptation with Charlton Heston (who also directed) would follow in 1988.

Patrick Page has a fantastic cameo as Henry VIII in the first act, a scene that lasts only several minutes but makes a lasting impression, as see both the lighter and darker sides of Henry. Tony winner Maryann Plunkett makes a return to Broadway after a twenty year absence as Alice More, Thomas’ second wife. Zac Grenier proves a powerful foil in Thomas Cromwell, who does everything in his power to bring down More. Richard Strong is Richard Rich, the commoner who would become Chancellor of England before his death, and who is considered one of the great political villains of all time. Rich is responsible for ultimately selling out More to Cromwell under what is widely considered to be perjured testimony.

However, it all comes back to Langella, especially in his second act decline from nobleman to prisoner. The second act, really, is where the play truly takes off. There is a great deal of exposition to be learned in the first, where we are given a full introduction to the period, era and political-religious implications of the time. But it is in the second act when More refuses to take the oath and loses everything he has that the play truly soars. Most notably in the heartbreaking scene in which he says goodbye to his family (both on film and onstage this scene can reduce an audience to tears) and the trial scene that immediately follows in which More makes his final statement before the court. His performance is of such definition and quality, I can’t help but be excited by the fact that I get to see it again towards the end of the run.

Catherine Zuber provides elegant period costumes, a celebration of earth tones and with such exquisite detail, she will most likely be in the running for her fifth straight Tony win this year. Santo Loquasto’s set is simple, yet most effective in use of the space, complementing the staging of the director quite nicely. Hughes has eliminated the character of the Common Man, and really, he isn’t missed. The Common Man was a Brechtian device that narrated and commented on the play to the audience, while also appearing as More’s servant, the executioner, a boatman, etc. Really, he’s not much missed. (And yes, the Bolt estate approved the changes).

I couldn’t help but think of the relevancy this historical drama has in our own society. What it says about leadership and remaining true to oneself. There is much to be admired about Sir Thomas More, in not bending to the King’s will against his own ideals to the point of losing his life so as not to compromise his moral fiber. My God, what our politicians and statesman could learn from More, as an example on how to govern with integrity, gravitas and conscience.

Barbara Cook: My Life in American Music

Living legend Barbara Cook discusses her singing career from Broadway to the concert stage for KCRW, an NPR affiliate in Santa Monica, CA (with ample representation of her music). Did you know that for the spoken lines in “Glitter and Be Gay” from Candide, she called upon a performance of Lady Macbeth by Fay Bainter from a record of the Mercury Players production of the Scottish play? The interview is filled with little factoids like that, as well as insight into how Cook approaches the art of singing. The interview coincides with the upcoming gala opening of the Eli and Edythe Broad Stage at the Santa Monica College Performing Arts Center, at which Cook will be the inaugural performer.