Audra McDonald – Theatre Aficionado at Large

‘The Sound of Music Live’

How do you solve a problem like Maria, that chipper almost-nun turned nanny who saves a broken family and outwits the Nazis? Not only is she based on an actual person, but she’s a star turn requiring killer vocals and unlimited amounts of charm and pluck. If these demands weren’t enough, anyone who plays her must live in the shadow of two indelible portrayals: Julie Andrews in the film, and to a lesser extent, Mary Martin in the original stage production. It’s a tough gig that invites comparisons and stirs up quite a lot of nostalgic emotion. NBC took a huge risk last night, dedicating its entire primetime slot to a live performance of the original stage version of the show (book by Lindsay & Crouse). Billed as The Sound of Music Live!, the telecast did have a major problem with Maria. While it wasn’t quite a success, it was definitely worth the effort.

Some history: the musical wouldn’t exist without Mary Martin, the Texas gal turned beloved Broadway icon. She owned the rights to the story and approached Rodgers and Hammerstein to supply a few songs for a play, and they in turn offered to make it a musical. The Sound of Music premiered in 1959 (ten years after the trio experienced a major hit with South Pacific). Incidentally, the show has never been much of a critical favorite, with both the original production and film receiving mixed notices. But it didn’t matter, the show has belonged to the audience since its first performance.

Martin played Maria to standing room crowds for almost two years. She never missed a performance, not even when she filmed her iconic Peter Pan in 1960. That Martin, 45 going on 46 and already a grandmother, was probably too old to play a young postulant didn’t register with critics and audiences. Mary Martin radiated perpetual youthfulness, charm and love from the stage, and that star quality was enough to make the crowds suspend their disbelief. She was surrounded by great talent, including Theodore Bikel as the Captain, and most notably the dignified, Tony-winning dramatic soprano Patricia Neway as the Reverend Mother (Neway was actually six years younger than Mary). The show was the biggest hit of the season and won the Best Musical Tony over Gypsy (in a tie with Fiorello!). Martin received her third Tony as Maria, besting Ethel Merman’s iconic Rose. Florence Henderson headlined the national tour. Meanwhile, in London, the musical opened without an established star and became the longest running show in West End history. The show itself had become the attraction.

For the 1965 film, screenwriter Ernest Lehman smoothed out the narrative and added some conflict to the relationship between Maria and the kids, and also found better placement for some of the songs. Two sophisticated songs for Max and Elsa were dropped. One of Lehman’s more curious choices was to make Elsa a Baroness, stripping her of her political opinions and CEO status, while setting her up as a romantic villain, which was not how she was portrayed in the original production. Rodgers added two new songs (“I Have Confidence” and “Something Good”) to help flesh out Maria. Because of its overwhelming popularity, this film has become what most people expect when they see the musical onstage. The 1981 London revival starring Petula Clark was the first to incorporate material from the film, and other productions have followed suit, including the 1998 Broadway and 2006 London revivals.

As for NBC’s mixed bag telecast, the easiest and most obvious target for criticism is Carrie Underwood, as the entire event was built around her. Ms. Underwood, an American Idol alum and country star, has a great voice, but is severely lacking in acting ability. As I watched the show, I noticed the dichotomy between her singing and speaking. She became increasingly relaxed in her singing, but displayed a jarring disconnect with the dialogue. She just seemed to say words, without registering any emotion or feeling. At first I thought Ms. Underwood was a poor choice for Maria, but as the evening progressed I started to think Maria was a poor choice for Ms. Underwood. She probably would have been better served by Annie Get Your Gun, or some similar show that would play to her strengths and personality.

Ultimately, what Underwood needed was strong direction and she didn’t get that from either Rob Ashford or Beth McCarthy-Miller. Ashford has been assigned many classic musicals but has a perilous tendency to not trust the material. His choreography is quite often all style and very little substance. Case in point: the teenagers in “Sixteen Going on Seventeen” doing a spirited polka through a wooden hillside. I suppose I should just be grateful he didn’t have nuns hitch kicking around the abbey for no reason. What was presented on TV was merely blocking, with far too many intrusive commercial breaks. Issues with pacing and timing were rampant, even marring those scenes dominated by the Broadway stalwarts.

Audra McDonald’s Abbess was very good and her “Climb Ev’ry Mountain” was the musical apex of the evening, but while she had the grace she lacked the gravitas, and only felt like an authentic Mother Superior in her scenes alone with Underwood. All other times, she felt more like the popular nun as opposed to the head nun. The best performance of the night came from Laura Benanti as Elsa. In many ways, the character is far more fascinating in her politicized role onstage, representing those who chose ambivalent appeasement while Hitler took power. Benanti looked like a million dollars, sang like a dream, and her realization that the relationship was over during the last line of “No Way to Stop It” was the finest piece of acting of the night. (It’s also worth noting that Ms. Benanti was social media’s favorite: her name trended *worldwide* on Twitter for five hours). The cast album is worth getting just for these two ladies.

My quibbles aside, I was glad to see a three hour musical presented live on network television. I want to see more presentations like this. I applaud the risk, which seems to have paid off for NBC in press and especially in the ratings. While it ultimately fell short of expectations, it’s certainly worth another try. And I hope whatever it is, it stars Laura Benanti.

“Porgy and Bess”

Much has been made of the new revival of Porgy and Bess currently playing at the Richard Rodgers Theatre. The iconic folk opera has long been the subject of controversy since its premiere in 1935. Over the years, it has gone in and out of vogue due to its depictions of race in America and has been revised, restored and reimagined in opera houses and on Broadway. The score, with music by George Gershwin and lyrics by DuBose Heyward and Ira Gershwin, is one of the most best of the 20th century, featuring “Summertime” and “It Ain’t Necessarily So,” among many others. This time around, much of the controversy stemmed from a potent letter written by Stephen Sondheim to the NY Times taking exception to comments made by the cast and creative team in a feature article before performances started.

Unlike purists, I don’t really mind them trying to finding the musical in Porgy and Bess, but I don’t think this result is it. While the memorable Gershwin songs and characters remain the same, this condensed Porgy and Bess is tedious, lacking in passion, and strangest of all, emotionally distant. Suzan-Lori Parks has trimmed much of the operatic passages with ease, but many of her additions are clunky. There are lines of dialogue throughout that are expositional filler, as though to cover gaps in the reduced score. The act break makes is also uncannily reminiscent of Carousel. I also have difficulty believing either white men would have contributed a cent to the funeral saucer.

Diane Paulus’ staging is lumbering and lacking in form. Her idea of Catfish Row lacks any real sense of community, I never felt that this group of people rely on each other, except for the hurricane scene. The small amount of musical staging isn’t memorable. While the costumes were excellent, especially for Audra McDonald (a vision in that red dress), the set is one of the ugliest I’ve ever seen on Broadway. It was like staring at a dirty fish tank for two hours.

As Porgy and Bess, Norm Lewis and Audra McDonald are giving career-defining performances. Mr. Lewis embodies the crippled Porgy such feeling and sincerity, making him quite empathetic. However his singing voice was weak and tired, showing signs of vocal strain. This made way for the Juilliard-trained Ms. McDonald to dominate their duets (thrillingly, I might add). Ms. McDonald is a wonder as Bess, pouring her heart and soul onto the stage, playing Bess as a severely damaged addict. It was fascinating to watch her silences as she lurked through much of the first act not unlike an abused dog. Watching her succumb to Crown on Kittawah island was one of the most compelling scenes of the entire evening. And while the idea was to make a musical out of the opera, Ms. McDonald’s bold and occasionally over-the-top performance brings operatic legitimacy that should quell some purists.

Phillip Boykin makes a stunning Broadway debut as the lecherous, evil Crown. His speaking and singing voices are a thrill to behold, and his performance is riveting. David Alan Grier was excellent as the smarmy, dope-peddling Sportin’ Life, who may be more of a villain than the rage-fueled Crown. NaTasha Yvette Williams was exceptional as Mariah, bringing a lot of warmth and heart as the matriarch of Catfish Row. Byronha Marie Parham’s “My Man’s Gone Now” failed to devastate. (Ironically, my favorite rendition of this aria is Ms. McDonald’s from the Sondheim 70th Birthday concert at the Library of Congress).

Diedre L. Murray’s adaptation of the musical score is proficient, and is well orchestrated by William David Brohn and Christopher Jahnke (spoiling us with 22 musicians). However, where the music should soar into the stratosphere, here it constantly hits a ceiling. At the end when Porgy turned upstage after the final “I’m On My Way,” I felt nothing. I understand the Gershwin estate is pleased with the adaptation, but frankly if they want Porgy and Bess to be a musical I think they should try again.

Julie Andrews’ Kennedy Center Honor

The first time I watched the Kennedy Center Honors was in December 2001. I’d heard of the prestigious honor but had never actually tuned into the telecast. When it was announced that Julie Andrews would be an honoree, I decided it was about time I checked out the evening, hosted by Walter Cronkite. It’s an evening of career testimonials with some sort of performance in recognition of the honoree’s achievements, and usually there is at least one representative from the world of theatre. Other honorees that particular year included Van Cliburn, Quincy Jones, Jack Nicholson and Luciano Pavarotti.

Andrews’ tribute was presented by her best friend Carol Burnett who spoke lovingly of the star, her career and even sang a few bars of Sondheim’s “Old Friend” (the camera cut to Andrews mouthing the lyrics with her). The retrospective included clips of Andrews as a child prodigy, singing for the royal family as well as clips from her various Broadway and film musicals including My Fair Lady, Camelot, Mary Poppins, The Sound of Music and Victor/Victoria. One correction to Ms. Burnett’s anecdote: Julie Andrews thanked Jack L. Warner at the Golden Globes. She was less cheeky in her Oscar acceptance speech.

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The performance portion was tremendous. Patrick Wilson sang “On the Street Where You Live” from My Fair Lady, Kristin Chenoweth amped up the coloratura for “A Spoonful of Sugar” from Mary Poppins and then Robert Goulet sang “If Ever I Would Leave You” to his former Camelot co-star. Audra McDonald sang a pristine “I Could Have Danced All Night” while Jeremy Irons sang “I’ve Grown Accustomed to Her Face.” The segment’s finale was provided by Rebecca Luker singing “The Sound of Music,” who was joined by the others as well as a chorus for the obligatory big finish. The clip here is missing the second half of Audra’s song and the first part of “The Sound of Music” but it is still a remarkable musical theatre medley.

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At the end of the evening, Renee Fleming delivered a stunning rendition of “Take Care of This House” from 1600 Pennsylvania Avenue in remembrance of the recent 9/11 attacks. My VHS has long since gone missing so I’ve not had the chance to revisit this particular performance since I discovered the lost Bernstein-Lerner score. If anybody might have it, I would love to see it again!

Walking Among My Yesterdays… "Carousel"

I was first exposed to Carousel through its 1956 film adaptation back in middle school. I was on a major Rodgers and Hammerstein kick from having seen the special Rodgers & Hammerstein: The Sound of Movies, a two hour retrospective on A&E hosted by Shirley Jones. I liked the film well enough, but truth be told I’ve only seen it once in the last ten years since I did the show at my high school. Reading the stage libretto and hearing the entire stage score and orchestrations throughout the rehearsal and performance periods, I realized that the show was darker, more substantial and ultimately more effective in its stage incarnation.

We felt inordinately proud of our production. As a cast we were very much aware of the show’s legacy and the difficulties in performing the material (especially in a high school setting). It marked the second time I ever appeared onstage in a musical. I was a sailor in the first act and Enoch Snow, Jr in the second. Even though I had really wanted to be Enoch Sr. (I sang “Geraniums in the Winder” for my audition… anyone? anyone?), I took a great deal of pride in what I did onstage in this show. It was the one and only time I completely costumed my own character, without any assistance (borrowing heavily from my father’s wardrobe).

Even after performing the show, I had never seen Carousel from an audience perspective. I pounced on the news that there would be a concert at Carnegie Hall starring Hugh Jackman in his New York musical theater debut. The concert was months and months away, almost a year if I recall it correctly, so I kept on the lookout for ticket information. When it came time for tickets to go on sale, I set my alarm and spent about an hour on the phone getting busy signals from the Carnegie Hall box office. Eventually I got through and got the seats. The concert was June 6, 2002 and it was my first time inside the legendary venue.

The day of the concert, I got up and the skies were cloudy and threatening. As soon as I left the house, a downpour like none other started to fall and didn’t let up until the next day. Two high school friends (also in the show, one was our Nettie, the other our Heavenly Friend) went with me and we enjoyed an adventurous – if wet – day in Manhattan. I stopped at the Virgin Megastore, as per my old custom, and picked up a few cast recordings. We then dined at the TGIFridays in Times Square before we made the trek up to Carnegie Hall.

Now if we had been functioning like real adults instead of fresh-faced college kids, we would have taken the subway and/or been fully prepared for the inclement weather. But no, so we walked and walked in the rain – and in what was a first, I walked directly into the side of a moving cab. Amazingly enough, I wasn’t hurt. But oh, did we laugh.

Settling into our seats, the house was buzz with excitement. Carousel was last seen in NY in the acclaimed Tony-winning 1994 revival at Lincoln Center. The cast they had gathered together with Jackman was nothing short of exceptional. Audra McDonald, who won her first Tony as Carrie in the previous revival, was moving into the role of Julie. Lauren Ward was Carrie, Jason Danieley was Enoch, Norbert Leo Butz was Jigger, Judy Kaye played Nettie. But it didn’t stop there: Blythe Danner was Mrs. Mullin, Philip Bosco was the Starkeeper and original Billy Bigelow John Raitt made a brief appearance to introduce the concert; his entrance brought down the house with a lengthy ovation.

Directed by Walter Bobbie, the conceit of the evening was to really showcase the music and lyrics of Richard Rodgers, as well as the orchestrations of Don Walker and dance arrangements of the brilliant Trude Rittmann. Bobbie and John Weidman adapted the book for concert, similar to Encores!, only it was even more spare than anything you find at City Center. There was absolutely no scenery, and very subtle but effective costume coordination by John Lee Beatty. Leonard Slatkin directed the Orchestra of St. Luke’s and the principals were assisted by the Concert Chorale of New York.

I doubt you could ask for more perfect casting, particularly in the two leads. With McDonald and Jackman, the chemistry was palpable and the famed bench scene was not only superbly sung and acted, it was also incredibly sexy. When the two kissed at the end of it, the audience burst into spontaneous applause. McDonald’s crystalline soprano was perfect for Julie, with heavenly renditions of “If I Loved You” and “What’s the Use of Wond’rin’.” The two leads were ably supported by the others, particularly Kaye, who was and is ideal casting as Cousin Nettie, who brought a great sense of fun to “June is Bustin’ Out All Over” and a stirring warmth to “You’ll Never Walk Alone.”

The evening, though, belonged to Jackman. He was more than ideal, and was probably as close to perfection as one could get for the part. At the time, he was only starting to make a name for himself in Hollywood but had previously scored raves for his portrayal of Curly in Susan Stroman and Trevor Nunn’s West End reincarnation of Oklahoma!

His “Soliloquy” was so impassioned, so thrilling, it brought sporadic bursts of applause mid-song. A year and a half later he would carry The Boy From Oz in one of the great male star turns in recent memory. But his Tony-winning performance as Peter Allen pales in comparison. He sang the role with gusto, and delved deeply into Billy’s psychology, giving a performance that was ready for a Broadway opening. There was talk of him starring in a second film version of the property. I don’t know if that is still in the cards, but it would be wondrous to have the star revisit the property, especially for those who weren’t lucky enough to be there that night. It was one of the greatest musical theatre performances I’ve ever seen in my life.

The finale brought the sold out house at Carnegie Hall to its feet almost instantly, in a warm ovation. That ovation increased as Mr. Raitt returned to the stage where he proceeded to embrace Jackman, in a spontaneous display of mutual admiration. Though Mr. Raitt didn’t sing a note that evening, just his mere presence made the evening that more perfect. I don’t know for certain but I believe it was one of his last public appearances in NY.

My friends and I hoped that there would be a recording of the evening, and were so generous in starting applause that we wondered if we’d be able to hear ourselves if there was one. But unfortunately, the powers that be hadn’t the foresight to consider such an enterprise. Three years later when they presented South Pacific in concert, they made it available on CD and DVD and even aired the presentation on PBS. I’d like to think this was in part to missing the boat the first time around. For as much fun as that South Pacific concert was – it wasn’t nearly as special nor as memorable as Carousel.

Numerous albums of Carousel have been made throughout the years, but there is no complete recording of the score, in its original orchestration and with all of Trude Rittman’s brilliant dance arrangements intact. Even when we performed the show, the musical directors made some splices and edits within the dance music of the score: which includes a rarely performed “Hornpipe” for the sailors in the first act, as well as the famed twelve minute ballet in the second. There have been recordings of South Pacific, The King and I and even the recent studio recording of Allegro which give us the score in its entirety. I would like to think that Rodgers and Hammerstein’s greatest score might be given its due sooner rather than later.

The rain was still coming down in torrents when we left Carnegie. We had even considered stagedooring it (with mostly soccer moms in attendance, a precursor to what was to come during his Broadway runs), but we were informed by one of the stage door attendants that the cast was going to be sitting down to dinner before emerging. We decided the show had already been enough and walked through the rain all the way down to Grand Central (why none us thought about taking the subway or a taxi, I’ll never know) but we maintain great memories of that experience, and I for one couldn’t get that score of my head for days, as I nursed my inevitable cold. But dammit, it was worth it!

The Andrew Lloyd Webber Love Trio

I can’t say I’m the biggest fan of the Andrew Lloyd Webber (some might recall my anecdote about being elbowed awake for snoring during Cats) but when PBS aired My Favorite Broadway: The Leading Ladies back in 1999 (that long ago already?!) I was very much taken with the “Andrew Lloyd Webber Love Trio,” taking three of the Lord’s ballads and putting them together. Audra McDonald sang “Love Changes Everything” from Aspects of Love, Marin Mazzie sang “Unexpected Song” from Song & Dance and Judy Kuhn delivered “I Don’t Know How to Love Him” from Jesus Christ Superstar before the three finished together in a showstopping counterpoint.

Lisa Kirk – "The Gentleman is a Dope"

The complete studio cast recording of Rodgers and Hammerstein’s 1947 musical Allegro came out this week. While I’m waiting for the chance to hear it, I figured I’d tide myself over with Lisa Kirk lending that rich alto to the score’s most famous song, “The Gentleman is a Dope.”

Allegro, the team’s first wholly original musical, was highly experimental in its form and structure as it told an allegorical tale of an everyman who finds success, corruption and ultimately disillusionment in the “Big City.” It was met with mixed reaction by the critics and audiences, running a respectable if disappointing 315 performances. The show’s original cast album runs a mere 33 minutes, presenting highlights of what is a very unique score. Allegro was revived for a radio broadcast on NBC radio in 1951 starring John Lund and Jane Powell. It was also the second production of the very first season at Encores! back in 1994 (when it was still more of a concert than a concert staging).

The new album from Sony Classics features every note of the vocal score on two discs with the voices of Patrick Wilson, Audra McDonald, Liz Callaway (in the Lisa Kirk role), Laura Benanti, Judy Blazer, Ashley Brown, opera star Nathan Gunn, Maureen Brennan, Norbert Leo Butz, Marni Nixon (who I’m excited to be seeing this weekend in the Encores! production of Music in the Air) and the master himself, Mr. Stephen Sondheim. Long overdue, we now have an officially complete recording of one of the most intriguing scores of the 1940s. Now all we have to do is wait for a complete cast recording of Weill & Lerner’s Love Life.

As for Kirk, she went onto originate Lois Lane in Kiss Me Kate and would later replace Janis Paige in Here’s Love and offered great support in the original Broadway production of that cult favorite Mack and Mabel. Her final appearance on Broadway was in the 1984 revival of Noel Coward’s Design for Living as Grace Torrence. Her most noted work in film was as the vocal double for Rosalind Russell in the 1962 film version of Gypsy. Russell stated in her autobiography that she sang every note heard in the film, which is quite far from the truth. The recent soundtrack album release included the original tracks that Russell laid down in the studio before they decided to bring in Kirk, who sang the score in the lowest keys I’ve ever heard it sung. Rumor has it that after Ethel Merman died, recordings of Russell’s performances of the Gypsy numbers were found in her apartment. One can only imagine…