Author: Kevin Daly

Hepburn in ‘Coco’

Coco is one of the more interesting musicals to have played Broadway. Not that’s very good, but it’s still a show with an interesting gestation. Turning the life of Chanel into a tuner was the brainchild of Alan Jay Lerner and Andre Previn and proved one of the hottest tickets of 1970. The reason? Hepburn. Not Audrey, as Chanel reportedly assumed when she signed away the rights, but Katharine, known for her many talents – save musicality. Frederick Brisson was the producer and was preparing the vehicle for his wife Rosalind Russell, but the star was developing health problems from which she would never recover. The resulting show was an oddity: high class musical staging by Michael Bennett (who also stepped in for director Michael Benthall, now past his prime) with several eye-popping fashion parades of Chanel (as interpreted by Cecil Beaton) and a virtually DOA libretto.

The show opened at the Mark Hellinger after 40 previews to atrocious reviews. Hepburn escaped virtually unscathed, but according to Steven Suskin’s More Opening Nights on Broadway, the show received an overwhelming 5 pans out of 6. The book, the lyrics, the score – the critics weren’t having it. There is very little plot and the show is an excuse for Hepburn to give a star turn (and because of her age, its about Chanel coming out of retirement rather than her rise in the industry).

The 1969-70 season was rather weak overall, and the tightest Tony race was that between nonsingers Hepburn and Lauren Bacall for Best Actress in a Musical. The negligible Applause was better received than it should have been and was the big winner that evening; Bacall was triumphant. (Coco won for Beaton’s costumes and a featured actor Tony for a shameless performance by Rene Auberjonois as an over-the-top gay fashion designer hell bent on destroying Chanel).

However, audiences came out in droves to see the great (then) three-time Oscar winner onstage in her first musical. The result wasn’t pretty (Upon the release of the poorly recorded cast album, Hepburn quipped “I sound like Donald Duck.”) and there is very little to connect Hepburn’s performance with Coco Chanel, but Hepburn was a star and she gave the requisite turn that packed in audiences. No one particularly seems to have cared for the show, but the demand was such that Hepburn extended her limited contract, ultimately spending nine months in the show in NY. Her replacement (Danielle Darrieux) was received as an improvement on Hepburn, because she was appropriately Gallic, demure and more Chanel-like. However, she was not Hepburn and box office interest plummeted. Two months after Hepburn left, Coco shuttered. In spite of being critically reviled, the musical managed to run for 329 performances. Hepburn returned to the role on tour, and the show turned a profit. Plans for a London run and a Paramount film never came to fruition.

Interestingly enough, for all of the show’s critical shortcomings, it maintains the distinction of being the longest performance piece in Tony Award history. The television broadcast devoted fifteen uninterrupted minutes to the musical, showcasing the star Hepburn, but featuring several members of the supporting cast – George Rose, Gale Dixon and David Holliday in some scenes. Hepburn delivers, in an amusing sprechstimme, the eleven o’clock number “Always Mademoiselle” and then steps aside for the ladies of the chorus in a Michael Bennett fashion parade. We’re unlikely to see one show receive this sort of treatment again.

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Aficionado Makeover

I’ve been toying with the idea of another site face lift for a while, but never quite got around to doing it myself (last time I touched it was July ’08!). However, my friend and web designer Chris Van Patten, surprised me with a template of the new site which you see here. I’ve jumped ship from Blogger after two and a half years. Not that I didn’t enjoy using their template, but it was time for a change and here it is! We are still working out some of the kinks and I am getting used to the new set-up but I have to tell you I am loving it so far and I hope you do too!

Random Thoughts on the Tony Awards

Last night I was very fortunate to be watching the Tony Awards at SarahB‘s annual Tony party (which I lovingly call “Lady Iris’ Annual Moon Lady Extravaganza”). We were in a different suite this year, but the company was the same. While it rained on the NY, up inside 1820, the moon was the full, the gin was in the bathtub and a glorious time was had by all. There was a Twitter corner for those who wished to tweet during the ceremony, but we all had such a marvelous time with one another that no one left the couch!

The greatest acceptance speech of the night belonged to Marian Seldes. The beloved actress was honored with a Lifetime Achievement Award which was presented on the pre-show telecast on NY1. There had been some conjecture wondering how long Ms. Seldes’ speech would run. However, she trumped all by merely walking to the microphone, taking several glances at the house and merely put her hand to her cheek in astonishment as she walked offstage. I think it will go down as one of the greatest Tony moments ever (and is that now officially the shortest acceptance speech on record…)

I’ve seen some speculation on web boards and twitter that Ms. Seldes’ speech was either disingenuous or indicative of failing health. But the truth of the matter that it is neither. Marian is an animal of the theatre, one who has a unique quality of eccentricity about her. But this eccentricity is pure sincerity. I don’t know that there is another person alive or dead who genuinely loves theatre like Marian Seldes, who recently sat through a three hour performance of A Little Night Music, backstage visit and dinner with a smashed shoulder (which would require surgery). She is wholly dedicated to her profession, and I for one say “Brava!”

Last July, the Tony Management Committee released a statement to the press to inform the world that members of the press were to lose their voting privileges in the awards. There was a huge backlash at the time because of the hypocritical statement that removing the press would make the awards more balanced and fair. Bullshit. It was a choice that removed the most impartial members (approx. 100 folks, accounting for 1/8 of the voters). The results of last night’s awards were indicative of that choice.

Producers were given far more influence in the voting results, which were reflective of the trends of this weary, underwhelming theatre season where the great financial successes were star driven limited engagements. Stars were given preference; not necessarily saying that their performances weren’t meritorious, but it seemed more like a plea on the producers’ part to entice other stars to come to Broadway. While I welcome any and all to give it a try onstage… I am weary at the unhealthy trend this could set as more and more producers look to shy away from artistic risks and pander to middling tastes.

There weren’t as many sound gaffes as last year, but that didn’t help much when it came to Tony performances. Once again they felt rushed and were at extremes. There was no balanced excerpt. Green Day was given two songs while Christiane Noll was given the bridge of “Back to Before.” Nominated revival, and the best reviewed show of the season Finian’s Rainbow wasn’t even represented in song. The television direction once again proved entirely incongruous, giving the audience very little feel for the shows in contention. Matthew Morrison needs to do another musical, but I’m not sold that Lea Michelle is ready for a revival of Funny Girl.

The trouble remains the need for CBS to draw ratings (which it always fails to do) so they limit the performance time for shows and make it impossible to get a sense of the shows currently playing. Also with the show being held in Radio City Music Hall, a cavernous barn fit only for a revival of Jumbo, much intimacy is lost. Radio City Music Hall is not Broadway, nor will it ever be. It’s unlikely to change unless the awards are given the boot from network television (and the way it’s going, it would probably be better off on PBS), but I wish the tradition of going to a different Broadway house each year would return.

Then there is the legend of Catherine Zeta-Jones. While I am not a big fan of the stage revival currently playing the Walter Kerr, I did think that the star could have been exceptional Desiree Armfeldt with a more nuanced director, such as Bartlett Sher. The performance of “Send in the Clowns” ranks as one of the worst renditions of the song I have ever seen/heard, whether it was the choice to remove Alexander Hanson (who should have been nominated for his exceptional Fredrik Egerman) from the moment so she would have someone to play to or nerves, or projecting to the house at Radio City Music Hall. It heightened what was problematic about her performance to me – the need to oversell, oversing and the overall lack of nuance and balance in her performance. Even folks I know who liked the performance found themselves screaming at the pregnant pauses, jerky head movements and crazy eyes. What seemed mediocre at the Kerr was downright terrifying in HD closeup. Barbara Cook introduced the number, but truth be told I think she should have been the one singing the Sondheim classic last night.

The Best Musical Tony should be renamed “Best Vehicle for Marketing on Tour.” It was a weak year for original musicals, very few properties were represented and there were only two eligible nominees for score (with Fences and Enron filling out the rest). Memphis won because it was the most wholly original and traditional musical in the bunch, a diluted and derivative hybrid of Dreamgirls and Hairspray. (I’d have voted for Fela!, one of the great experiences of the year).

Sean Hayes was an exceptional host. Funny, affable, self-deprecating. He was genuinely funny and his one liners and shtick worked very well. His quips as well as his numerous costume bits were very amusing and as the night progressed further and further into tedium, I looked forward to seeing what the Promises, Promises star would come up with next. Also, props on the classical piano skills – I was sort of hoping that he and David Hyde Pierce would engage in a round of dueling pianos.

Angela Lansbury did not break the record for most acting Tony wins last night, but she was still the epitome of class and grace as she was announced the first ever Honorary Chairman of the American Theatre Wing, an announcement which brought the entire crowd at Radio City Music Hall to its feet.

Oh – and one more thing. NY Jets quarterback Mark Sanchez was on hand to present the Best Musical performance of Memphis. In his introduction he was touted as a theatre aficionado, to which I said, “That doesn’t look like me.” It was unexpected, but I think it’s nice to see someone from the world of sports taking an interest in Broadway.

Lily Tomlin’s Special Tony Acceptance Speech

It’s the eve of the Tony Awards. By this time tomorrow, we’ll know what the voters decided on and we will Monday, Tuesday and Wednesday morning, afternoon and evening quarterback (and possibly still further… Two Gentlemen of Verona over Follies anyone…?). Twitter, facebook and the blogosphere will be a jumbled mess of opinions, arguments, commentary and 20/20 hindsight. But for now I want to share one of my favorite Tony acceptance speeches -and one of the more unique -in Tony history.

Lily Tomlin has appeared in two solo shows on Broadway, both solo works and has won Tonys for both. The more famous is her 1985 vehicle The Search for Signs of Intelligent Life in the Universe, which she revived in 2001. But in 1977, Tomlin made her Broadway debut in a special limited engagement Appearing Nitely, which she directed and cowrote with her partner Jane Wagner. She received a special Tony award for her acclaimed appearance and in turn they made her work for it. Happy Tony watching and may you all win your Tony party pool. In the meanwhile, here’s Lily. Enjoy:

Melba Moore sings “I Got Love”

High belting doesn’t really excite me as much as it does some others. But, that doesn’t mean I don’t have some favorites. One of the all time greats is Melba Moore, who made her professional debut as Dionne in the original cast of Hair. Moore came from a musical family (her mother was singer Bonnie Davis and her father Big Band leader Teddy Hill; her stepfather and great influence was jazz pianist Clement Moorman). Moore eventually moved into the role of Sheila, a couple years into the run (replacing none other than Diane Keaton).

In 1970, she opened in a new musical based on Ossie Davis’ Purlie Victorious. A light comedy with satiric edges about race relations in the Deep South, the play was about a charismatic and cunning preacher who returns to his Georgia hometown to save the church and also to get the cotton pickers out of the clutches of the mean old plantation owner (who treats the workers like slaves). The plan is to get an inheritance out of the old racist codger and use the money to help the townspeople, with the help of the plantation owner’s liberal son.

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“Follies” – A glimpse of the original

Who’s got the budget to recreate this spectacular piece of theatre? Here are fragments of the original cast, in a final dress rehearsal. Watch…marvel…enjoy… (The first part is viewable here).

Patrick Lee (1959-2010)

Ever since I started blogging, I have been experiencing so many firsts. My first press invite or my first interview. There have been first trips to various theatres, seeing various folks perform and it’s been such a joy. However, today with the sobering intensity of a sucker punch, I experienced another first, one that I wasn’t exactly prepared for: the death of a fellow theatre blogger.

I first met Patrick Lee a little over a year ago when Ken Davenport had what would be the first meeting of the Independent Theater Bloggers Association. Over the course of the year, as I volunteered to help out I got to spend some time with Patrick as we worked to bring structure to the fledgling group. It was to my great shock and sadness to learn of his death of a heart attack, at 51 years old.

Every so often we would all meet up in Ken’s offices for meetings discussion our progress and whatnot. But as is the case with so many of the bloggers, I found myself chatting him up before and after the meetings. There would be times when we would end up talking for a half hour on the sidewalk on 49th Street, catching up on what we have seen. Discussing some of the great flops that interest me (namely 1600 Pennsylvania Avenue), he told me that he used to travel into the city constantly with his father to see theatre when he was a kid, and as a result saw so many shows (such as 1600) that most of the general public would have missed.

I don’t know if there is anyone who went to the theatre as often as Patrick did. Last August, we would jest over the amount of Fringe shows he was running off to see. You could catch his reviews, interviews and features for Broadway, off-Broadway and off-off Broadway theatre on Theatermania, his own blog Just Shows to Go You and Show Showdown. He was a member of the Outer Critics Circle and a juror for the GLAAD Media Awards. Just recently, we announced the 2010 winners of the ITBA awards, with Patrick taking charge of an admittedly thankless task and handling everything with aplomb.

The last time I saw Patrick was, of course, at the theatre. We were heading in to see the Encores! revival of Anyone Can Whistle and were able to chat amiably for a couple of minutes. I do wish I had a chance to know him better, but will be grateful for the conversations we had, online and in person. He will be greatly missed among the theatre blog community.

He is survived by his mother, sisters and other family members.

The 2010 Theatre World Awards – Recap

For the first time since I started blogging I made it to the 66th annual Theatre World Awards with considerable ease; no train chasing or train hopping this year! The ceremony was once again held at New World Stages (where it was in 2007), in the theatre which currently houses Avenue Q (seeing the set made me want to see it again).

This year it was very important for me to be there as the awards were handed out, as it’s not been the easiest year for the organization. Financial troubles left the future of the awards ceremony in doubt, but thanks to Meryl Streep, Mamie Gummer as well as the Dorothy Loudon Foundation and others, this year’s ceremony went on as planned. While still not out of the woods yet, things are looking up (To make a tax deductible donation to the Theatre World Awards, click here).

Continue reading The 2010 Theatre World Awards – Recap

Karen Morrow sings "I Had a Ball"

“She’ll sing the hell out of it.”

That, my friends, is Jerry Herman’s ringing endorsement for the one and only Karen Morrow, who possesses one of the best belt voices I have ever heard. Morrow got her start in the early 60s with a Theatre World Award for the off-Broadway musical Sing Muse! and several shows at the City Center. Following a tour in The Unsinkable Molly Brown, she found further off-Broadway success in a hit revival of The Boys from Syracuse.

However, Morrow is another great voice cursed by a series of Broadway flops. She made her Main Stem debut in I Had a Ball playing the brassy belter opposite star Buddy Hackett (who thankfully kept his singing to a minimum and is the reason the show closed – check out Not Since Carrie or the original cast recording for details). The plot is convoluted nonsense about romance on Coney Island (gee, where have I heard that recently…?) and gave Morrow the eleven o’clock showstopper: the title song.

The first time I ever listened to the cast album, nothing really grabbed my attention. That is, until I this song popped on. I stopped what I was doing and proceeded to repeat this one song 13 times. It is, without a doubt, one of the most unabashedly joyous pieces of musical theatre ever written. The cast album features only a portion of the dance break, a bit of belly-dance music but it features one of the most brassily orgasmic transitions back into singing. A treat from start to finish.

If Karen Morrow is on the album, I have it. I’m especially grateful that “The Babylove Miracle Show,” the absurdly infectious faith healer song cycle from The Grass Harp is recorded in its entirety. Morrow basically entered and sang for 15 minutes non-stop, getting the likes of Barbara Cook, Carol Brice and Russ Thacker to speak in tongues (and “Time to hang the moulah on the washline”) – but that’s another post for another day.

After I Had a Ball, Morrow was featured in A Joyful Noise in 1966 opposite John Raitt and Susan Watson. This show folded after a mere 12 performances and no cast album, even though Morrow tore things up with “I Love Nashville.” I’m Solomon in 1968 which ran for 7 performances (and both played the Mark Hellinger Theatre). The Selling of the President ran even shorter: 5 performances at the Shubert in 1972, a musical in which Morrow didn’t sing a single note – which I like to think is one of the main reasons it failed. (During her opening night curtain call, a gentleman near the stage called out, “You should have sang, honey!”) Her final Broadway appearance to date was much happier: she replaced Cleo Laine as the Princess Puffer in The Mystery of Edwin Drood.

In spite of those flops, Morrow’s never wanted for work: performing in concerts, with symphonies around the country, numerous TV appearances (especially Merv Griffin, who adored her) – and she’s even won an Emmy. She’s one of Jerry Herman’s favorites, and whenever there is a concert in his behalf you can count on her being there. She also toured as Parthy in Hal Prince’s Show Boat and was involved with White Christmas: the Musical, and is featured on that original cast album.

Anyway, here is Karen Morrow with the dancing company of I Had a Ball. The choreography is by Onna White. Also, take note of what Buddy Hackett does during the song’s big finish.