Tag: A White House Cantata

Theatrical Highlights of the Year

1. Sunday in the Park With George. January 25, 2008 @ Studio 54. This was the first of three big musical revivals that set fire to the New York stage this year. An import from London, the cast was led by Olivier winners Daniel Evans and Jenna Russell, with able support from Mary Beth Peil (her ability to listen as an actress was a marvel to watch), Michael Cumpsty and Jessica Molaskey and company. The revival featured spectacular scenography, with breathtaking visual design that enhanced the experience. I’ve never seen the second act work so well before. The only complaint was the reduced orchestration.

2. Gypsy. March 27, 2008 @ the St. James Theatre. The superlative City Center Encores! production became the most acclaimed Broadway revival of the show in my lifetime. All but Nancy Opel transferred, bringing something more in depth to the tables as actors, as well as marking the return of Lenora Nemetz to Broadway after an absence of more than two decades. LuPone, Gaines and Benanti won deserved Tonys for their work, with the latter two providing especially definitive interpretations of their roles. Quibbles with the minimalist production, unnecessary edits and kabuki lamb not-with-standing, a stirring, earth-shattering revival of the Great American Musical.

3. A White House Cantata. March 31, 2008 @ Jazz at Lincoln Center. This marked the NY debut of the concert adaptation of Leonard Bernstein and Alan Jay Lerner’s colossal (and much-loved, by me anyhow) flop 1600 Pennsylvania Avenue. Though a concert presentation from the Collegiate Chorale, it was important as it was a presentation of an incredibly rare and important Broadway score, one that has long been forgotten because of the embarrassment surrounding its original concept and staging. While I would have preferred theatre actors to opera singers, I was still thrilled for the opportunity to hear many of the favorites of the score performed live with Hershy Kay’s original orchestrations. I still hold out hope that the estates will let Encores! put on the original Broadway 1600 with Victoria Clark giving us the “Duet for One” (and perhaps a chance for the overture to be heard).

4. South Pacific. April 3, 2008 @ the Vivian Beaumont Theatre. One of the most entrancing musical revivals I’ve ever seen. My excitement for the production was high from the first announcement that the show was a go a couple years back. Kelli O’Hara and Paolo Szot oozed sensuality as Nellie and Emile, with his “This Nearly Was Mine” bringing down the house. Matthew Morrison sounded better than I’ve ever heard him sing, and his acting continues to grow more nuanced and polished. Danny Burstein channeled more than a little Bert Lahr into his Luther Billis, but that was okay. And finally, the delightfully gracious Loretta Ables-Sayre made her Broadway debut as Bloody Mary, finding depth and humor from within the character. The staging and its design were flawless, with eye-popping and lush visuals. Plus there was that packed orchestra with that glorious reveal during the Overture. What what was a pleasant surprise was that it quickly became (and still is) one of the hottest tickets in town.

5. La Fille du Regiment. April 18, 2008 @ the Metropolitan Opera House. I had never even heard of Donizetti’s opera comique when Sarah offered me a comp to the open dress rehearsal. Since it was the right price and seemed like a fantastic way to spend an afternoon, I was decidedly game. However, I didn’t expect to be totally overwhelmed by the production. World-renown coloratura Natalie Dessay was playing opposite tenor Juan Diego Florez, with Marian Seldes making her Met debut in a cameo role. I was thoroughly engaged but went into a near frenzy when Florez tackled that Mount Everest of arias, “Ah, mes ami! quel jour de fete!” (aka “Pour mon ame”). The aria demands nine high C’s in a row, and is a challenge for even the most nimble and technically proficient singer. It was one of those rare moments that you watch well aware that you – and everyone around you – is about to go completely wild with enthuiastic applause, which we certainly did. Dessay and Florez’s chemistry is palpable and their vocal blend is top-notch, and I hope to see them together again in La Sonnambula this spring.

6. No, No, Nanette. May 11, 2008 @ the City Center. Hands down, the best thing I’ve ever seen performed at Encores! There was the most polish, the sturdiest direction, the best choreography, costumes to complement stellar casting. The show itself is a wonderful example of the pre-Show Boat crowdpleasing musical comedy with its trite characters and machinations; however, the show, especially as seen in its 1971 revisal (presented here) is nothing but a huge Valentine to the 1920s (Thoroughly Modern Millie and The Drowsy Chaperone are decidedly not). Sandy Duncan tore it up at 62 with the chorines, kicking just as high and twice as energetic as the kids. Charles Kimbrough was charming. Mara Davi was an ingenue delight. Rosie O’Donnell had a blast supporting as the wise-cracking maid. Michael Berresse charmed and danced up a storm (another one who could have been a fantastic Joey Evans). But it was Beth Leavel who walked away with the evening, particularly her devastating eleven o’clock torcher “The Where-Has-My-Hubby-Gone-Blues.” Infectious, endearing and charming, we hummed all the way across the street to Seppi’s. This is one Encores! I wish made a transfer to Broadway.

7. Boeing Boeing. September 3, 2008 @ the Longacre Theatre. What should have been a tired, unfunny exercise in bad farce turned into one of the freshest comedies of the season, winning the Best Play Revival and Best Actor Tony awards. The success is owed in part to Matthew Warchus, who took this English adaptation of a third rate French farce and felt that there was something to work with there. The majority of the success; however, belongs to Tony-winner Mark Rylance in his Broadway debut. Originating the part in Warchus’ original London production in 2007, Rylance’s character was a complete creation of his own, finding succinct choices as an actor which proved uproarious onstage. Bradley Whitford, Christine Baranski, Kathryn Hahn and especially the fearless Mary McCormack provided sturdy support.

8. [title of show]. September 27, 2008 @ the Lyceum Theatre. The one everyone thought I’d hate, but to the surprise of apparently everyone, I absolutely adored it from start to finish. Fresh, effervescent and unyieldingly clever and entertaining, the show might have fared better had it played a smaller Broadway house like the Helen Hayes or the Circle in the Square. Hunter Bell, Jeff Bowen, Susan Blackwell and Heidi Blickenstaff are all heroes, with special mention of Blackwell’s unique comic sensibility (“Die, Vampire, Die!”) and Blickenstaff’s vocal prowess (“A Way Back to Then”). I hope they all receive Tony nominations this spring. A return visit for the closing performance only cemented my admiration for the show and those who created/starred in it. The final performance of “Nine People’s Favorite Thing” prompted the longest Routledge ever witnessed by this Aficionado – three whole minutes.

9. On the Town. November 23, 2008 @ the City Center. In celebration of Leonard Bernstein’s birthday, the Encores! crowd decided to present his first Broadway musical as the debut of their latest season. The score is superb, the comedy hilarious. The book is a trifle, but with such winning numbers, zany antics and plentiful opportunities for exceptional dancing. Tony Yazbeck is a star on the rise – and I am glad to have seen him in this. Andrea Martin was the comic highlight with her uproarious turn as Madame Dilly. Of course, they rumored a transfer, as seems to be the case for every favorably reviewed Encores! show, but that seems quite unlikely.

What I want to see next year: Blithe Spirit, Billy Elliot, Music in the Air at Encores!, Hedda Gabler, All My Sons, Equus, The Philanthropists, Waiting for Godot, The American Plan, 9 to 5, Joe Turner’s Come and Gone, The Firebrand of Florence (Collegiate Chorale concert), La Sonnambula at the Met, West Side Story, 33 Variations, Mary Stuart, Impressionism, Accent on Youth, Happiness, Mourning Becomes Electra.

"It’s a Great Day for America, Folks"

So says Craig Ferguson in the introduction to his monologue every evening on “The Late, Late Show.” Today I am doing my civic duty and voting in our presidential election and I do hope that all of you are doing the same. After my parents and I hit up the polls, we will be venturing down to Manhattan for dinner and this evening’s performance of South Pacific. What could be more patriotic than that?

Once again, I turn to a personal favorite for musical theatre support:

“To Make Us Proud” (Bernstein-Lerner)
1600 Pennsylvania Avenue (cut out of town)/A White House Cantata (finale)

To burn with pride
And not with shame
Each time I hear
My country’s name
Not hide my head
When the flag goes by,
But feel I’m soaring
Where eagles fly:
Not walk away.
But stand and say:
I love this land!
It will prevail.
If love be strong
We will not fail
Let rage be fearless and
Faith be loud.
This land needs love.
To make us proud.

So What’s All the Fuss?

That was the name of a reply thread to Terry019’s enthusiastic post about beloved PR in 1600.

Here’s my reply:

Though “Take Care of This House” was the breakaway song from the short-lived “1600 Pennsylvania Avenue,” the “Duet for One (The First Lady of the Land)” creates what is arguably the most memorable onstage moment in the piece.

Routledge, who was playing all successive first ladies in the show, is given the task of portraying both the outgoing Julia Grant and incoming Lucy Hayes in the same scene, each soliloquizing during the Hayes inauguration; sharing their thoughts on the election results and insulting the other. Routledge accomplished this with a trick wig that she would literally flip; with an immediate change in voice and character to delineate between the two. Routledge started off the number as Mrs. Grant, introduced us to Mrs. Hayes, then in a fit of schizophrenic delight, juxtaposed between the earthier beltier Grant and the haughtier treacly-sweet soprano of Hayes. Again, all with the flip of a wig.

The musical number is the most challenging soprano showcase Bernstein had written since “Glitter and Be Gay”, a ten minute mini-opera in which Routledge utilized three octaves of her vocal range, which builds to a coloratura climax capped with a D above C. The audience response was overwhelming, as evidenced by Terry and many, many others fortunate enough to be in attendance. (Ken Mandelbaum in ‘Not Since Carrie’ calls it “one of the most brilliant and least known showstoppers in musical-theatre history”). Routledge, with her impeccable comic timing and glorious voice created an unforgettable tour de force that completely drove the audience wild.

As I wrote below, the individual attending “A White House Cantata” a few weeks ago commented on the “Duet for One” during the talkback. He said, and Routledge’s understudy Beth Fowler agreed, that the ovation for the number was unlike any they had ever seen before; the audience would not let the show continue until Routledge gave them an encore. And she did.Unfortunately, there was no official cast album recorded (the endlessly troubled show has enough of a fascinating history it could use its own book), but Judy Kaye performed the song on John McGlinn’s “Broadway Showstoppers” CD and June Anderson recorded it for “A White House Cantata.”

While I understand that there are many numbers on the boards today which one would consider a showstopper, the sort of ovation that “Duet for One” received (and still receives from those who remember fondly the thrill of that number) is one of considerable uniqueness and rarity, that just doesn’t come around too often.

Best,
~Kev

Hell, I figure I give this lecture so much, I should take it on the road like Hal Holbrook on Mark Twain.

"A White House Cantata"

Colossal failure. That’s the summation I generally give 1600 Pennsylvania Avenue, the Leonard Bernstein-Alan Jay Lerner flop that played a tumultuously chaotic out of town tryout and limped into New York for a 7 performance run. Where did it go wrong? Probably at the very start. Lerner was frustrated over the Watergate scandal of 1972 and collaborated with Bernstein on a concept musical that would examine the first hundred years of the White House, with an emphasis on race relations through that time. Highly ambitious stuff.

Tonight I was at the condensed revision of the piece (which eliminated practically the entire book and focused on the historical musical scenes) called A White House Cantata. The event was presented by the Collegiate Chorale under the artistic direction of Tony award winning actor Roger Rees and marked the NY premiere of this revision, and the first time the score had been heard in NY since it closed May 8, 1976.

The piece calls out for a more theatrical staging rather than the staid classical production it received tonight. The Collegiate Chorale stood and sat upstage in a semi circle, with four chairs and four mike stands (everyone had a binder) downstage. Chills were to be had several times throughout. “Take Care of This House” and “To Make Us Proud” (which reminded me so much of “Make Our Garden Grow”) are stunning pieces. The crescendo of the latter was beyond gorgeous. (“To Make Us Proud” should never have been cut as the finale. It is a stunning summation of liberal patriotism – and that last note is held forever and a day). Hearing those original orchestrations (by Bernstein, Hershy Kay and Sid Ramin) was worth the price of admission alone. Dwayne Croft was amusing as the President, and in stellar voice, if no great shakes as an actor. Emily Pulley‘s “Duet for One” was well executed – she found the comedy where June Anderson failed in the initial presentation/recording ten years ago. And needless to say, the number stopped the show. However – she did not take the high D above C at the end which separates the good First Ladies from the superlative First Ladies (like Patricia Routledge and Judy Kaye, who made the first official recording of the showcase for John McGlinn). Robert Mack and Anita Johnson were fine as Lud and Seena; especially with the infectious “I Love My Wife.” Rees also made an amusing cameo as Admiral Cockburn during the “Sonatina.”

As the show is performed now, with practically nothing left of the book it runs an intermission-less 90 minutes. Basically it’s everything you hear on the disappointingly lifeless album they recorded after the London premiere ten years ago (with Thomas Hampson and June Anderson). But I feel though that by removing the entire book, you’re left with just songs and little context. They tried to make up for that with a historical Powerpoint presentation that lasted the entire performance. They also wisely used supertitles for lyrical clarity. Which brings me to my aforementioned quibble. The piece is eminently theatrical and not classical – it would have fared better with musical theatre actors in the leads. Say for instance, Marc Kudisch and Victoria Clark as the President and First Lady. (Let’s face it, Victoria Clark should just do the Patricia Routledge songbook). There was a lack of cohesion that was made even more obvious with the lack of dialogue or even a narration. Hmm.. That sounds like an idea for the cantata, link the fragmented musical sequences with narrative. That would make more sense than just jumping from one musical piece to another. It could also help the audience care more for Lud and Seena, since they are the fictional characters of the piece, who really come out of nowhere and go nowhere, except to serve as catalysts for racial discussion within the musical numbers. We should have an opportunity to care for them. But let’s face it, it is a problematic show, otherwise it wouldn’t be obsessed by elitists and curious flop fiends.

I am, as many of you are well aware, fascinated to no end by the piece, especially since it’s one of such breadth and scope. And there seems to be a masterwork yearning to break out of the confines of the show in each of its revisions. I found that there was more fun to the piece when it was a Broadway musical and not an oratorio (the piece demands the energy and acting, especially in regards to the satiric numbers). They’ve reinstated the much more reserved original Prelude as opposed to the lively overture that opened the show on Broadway (which is decidedly Bernsteinian) and the framework of “Rehearse” which is infectious and little tidbits, like “The Honor of Your Presence is Requested” which for whatever reason I just love the melodic line. The impeachment scene between President Johnson and Seena is one of the most compelling dialogues that the show had to offer. It was nowhere to be seen. In fact, the servants rarely interact with the President and First Lady in the revision. The fragmentation sort of defeats the author’s original intent, doesn’t it?

The following quote from John Adams’ correspondence with his wife Abigail, written on his second day of occupancy was missing – and it makes for a beauty of a line:

“I pray Heaven to bestow the best of blessings on this House, and all that shall hereafter inhabit it. May none but honest and wise men ever rule under this roof.”

After the show, there was a highly engaging talkback hosted by Seth Rudetsky with Richard Muenz, Beth Fowler, co-director George Faison and Fowler’s husband John Witham (they met during this production and were married a year later). Also present was Warren Hoge, who covered the show during its preview period in 1976 – and told an amusing anecdote about how he sang “Take Care of This House” to Ronald Reagan at a White House dinner. One of the audience questions was actually a comment from a man who was at the closing and recalled how Routledge received such an ovation for “Duet for One” that she performed an encore. Fowler backed him up saying it was the only time she had ever seen anything like that “They wouldn’t let the show go on.” She also does a rather amusing Pat Routledge impersonation. They mused on what worked and didn’t work. The chaos of rehearsals and being out of town. The confusion of having rehearsed half a scene, only to perform the new first half and the old second half at the evening perform. Yikes. Many mixed reactions on the original work from all onstage. “A wonderful-terrible experience.” They were all thrilled to hear the score again – and Faison summed it up best when he said that Lerner and Bernstein were trying to say too much.

Erik Haagensen, who was cited in the concert notes as having written an article about the musical for Show Music magazine in 1992, has worked on an estate-approved revision of the work that was done in the early 90s. What a shame we can’t get his work out in the open, because I feel that there is a masterwork among this ruin that has yet to surface.

One final quibble. For a show that deals with race it was jarring that the chorale was almost all white, with nary an African American woman in sight, save for Ms. Johnson.

While it was a treat to hear the piece live in NY, A White House Cantata is not and should not be the final word on this score.

Happy Birthday, Patricia Routledge!

This site’s favorite musical theatre diva turns 79 today. With word from Variety that Trevor Nunn may be directing a revival of A Little Night Music for the Menier Chocolate Factory, wouldn’t she make a marvelous addition to the cast as Madame Armfeldt? I’d certainly cross the pond for that.

I listened to four different renditions of my much-loved “Duet for One” this afternoon (it even warranted a playlist on itunes) delivered by three noted sopranos. Patricia Routledge (at the world premiere performance in Philadelphia and several months later at the final performance in NY; with different versions of the song, the former of which has been reinstated as the official), June Anderson who recorded the First Lady for the CD premiere of Bernstein’s score A White House Cantata, and finally Judy Kaye who recorded the piece for the John McGlinn Broadway Showstoppers compilation CD. Anderson’s is pretty tepid; she has plenty of voice, but little humor and practically no personality. She barely even tried to delineate between the two first ladies. She’s also the only one out of the three who doesn’t cap off the end of the song on a high D above C (kudos to Pat and Jude for such prowess). For a famed coloratura soprano who has sung the roles of Cunegonde, The Queen of the Night and Lucia, among others, you’d think she’d be able to pop out a little old D. Hey June, I bet Renee would do it better. So there.

If I knew how to upload songs on here, I would.

Also, a special birthday shout out to Broadway and film legend (and first-time Oscar nominee) Hal Holbrook who is 83 today. I wish him luck at the Oscars. Though I love Bardem’s performance in No Country for Old Men and is a lock for the award, there is a small sentimental part of me rooting for Holbrook.

Upcoming Excursions

Today was an eventful day. I worked for 8 1/2 hours; drank a lot of green tea and bought a laser printer (thank God for 50% sales), 1500 pages of blank paper, binders and sheet protectors for my latest project; organizing my vocal scores. My first effort was for the score of 1600 Pennylvania Avenue (from the Philadelphia tryout). Now all I need is a piano… The much-loved (by me) “Duet for One” is a whopping 26 pages long. The Bernstein estate will not permit the original Broadway version of the show to be presented; the Cantata is a concertized revisal which eliminates a great deal of the book with some revision among the musical numbers, dropping the original’s “Rehearse” and reinstating the endless “Monroviad.” (Bernstein was so disappointed with the show as it played in NY in 1976, he refused to allow the cast album to be recorded, can you believe that? ARGGH!). Speaking of which, the Collegiate Chorale is giving the Cantata its New York premiere on March 31 at Frederick P. Rose Hall, Jazz at Lincoln Center (what a curious name for a venue). I really, really want to go. Baritone Dwayne Croft and soprano Emily Pulley will be singing the roles of the President and First Lady. Anyone else interested? The top tickets are $85, but I plan on aiming a bit lower ($65, 55, 45, 35, 20).

http://collegiatechorale.org/concert_schedule/

Broadway-wise: I’ve got my season ticket to The 39 Steps on February 24th. I will not be lingering in the city that night, since it’s supposed to be Oscar night (oh please, God). Also, I will be attending the March 12th matinee of Cat on a Hot Tin Roof at the Broadhurst. It’s going to be exciting as it will mark the first time I’ve seen James Earl Jones or Phylicia Rashad live in performance. I’m seeing Sunday again as a subscriber on March 9th. But first? Applause this Sunday at the City Center. Hearing how the flu has caused her to miss rehearsal and to lose her singing voice, I hope Christine Ebersole’s health will be much improved by then. This, among all the other festivities is going to make for one hell of an exciting spring season of New York theatre.

PS – My script of August: Osage County arrived in the mail today (along with Auntie Mame, Mister Roberts and Who’s Afraid of Virginia Woolf?). Huzzah!