Allie Trimm...

...as Kim in Birdie?



O......kay.

With John Stamos as Albert, this production has me CONFUSED.

Oh, Patti

Be mindful not to compare The History Boys, winner of the 2006 Tony Award for Best Play, with other sentimental, treacly schoolboy fare like the 1967 film To Sir, With Love or the 1989 film Dead Poet’s Society. The History Boys seeks not to romanticize education, but humanize it, asking questions not only about the nature of education, but also the workings of the human heart, and the goals we choose to pursue.
Playwright Alan Bennett uses an English grammar school (the equivalent of an American high school) as the backdrop for his tale about differing views regarding education. While preparing for university entrance exams that will ideally gain them admission to prestigious Oxford or Cambridge University, eight foul-mouthed and sharp-tongued boys find themselves at the center of an ongoing educational debate. Their current teacher, Hector (Dave Landis), perceives education as something intended for the heart, his curriculum consisting of memorizing the poetry of W.H. Auden and Stevie Smith, the performing of classic film scenes, singing, and promoting fluency in French, which in one hilarious scene, he has them utilize by acting out a scene in a brothel. The headmaster (Stephen Huff) does not agree with this approach; instead he wants something quantifiable. He brings in Irwin (Eric Duhon) who, denouncing “sheer competence,” encourages the boys to differentiate themselves from other potential applicants by presenting alternative, controversial interpretations of historical events. “Truth,” he argues, “is no more an issue in an examination than thirst at a wine tasting or fashion at a strip tease”.
Hector complains that Irwin’s flashy approach to exam preparation is not history; it’s journalism. Hector and Irwin cannot see eye to eye regarding the purpose of education. Is education valued for its own sake or is it valued as an avenue to achieving success? Irwin says, “Education isn’t something for when they’re old and grey and sitting by the fire. It’s for now. The exam is next month.” Hector retorts, “What happens after the exam? Life goes on.” The play, however, wisely avoids casting either as the good guy/bad guy. Both teachers have their convictions, and more importantly, both have their imperfections.
The play also addresses homosexual relationships among students and between students and teachers. However, this is not a morality play, and the subject is treated less controversially than it might have been were this an American play.
The cast is anchored by strong performances by Landis and Duhon. Of the boys, standouts include DJ Hill, as Scripps, the moral compass of the group, Joe McDaniel as charismatic Dakin, the object of so many characters’ affections, and Ed Porter as the passionate Posner, whose emerging homosexuality and youth make him feel isolated from his peers and whose rendition of Lorenz Hart’s “Bewitched, Bothered, and Bewildered” and scene with Hector is heartbreakingly poignant.
Walking away from Boys, you may not have any answers, but it’s worth the price of admission to be asked the questions.
The History Boys, directed by Rhodes professor Cookie Ewing with assistance by junior Mallory Primm, features performances by sophomores Omair Khattak and Ed Porter and alumnus Michael Towle (2008). The show concludes its run at Circuit Playhouse February 15.

This article also appears on the Rhodes Codetta blog (rhodescodetta.blogspot.com). In addition to theatre coverage, Codetta features coverage on music and art both at Rhodes and in the Memphis community.

The Drowsy Chaperone, winner of five Tony Awards in 2006, is both homage to and parody of the light, bubbly musical comedies characteristic of the Jazz Age, full of archetypal characters and frivolous, predictable plotlines. However, to fully accept and embrace this idea, you have to ignore some anachronisms. First, cast recordings did not even exist until sometime in the thirties, and secondly the musical score is not entirely in the style of the twenties. However, these are relatively easy things to disregard and do not interfere too much with enjoyment of the show.
The narrator for the evening, simply called Man In Chair (Tennessee native John West) shares his favorite indulgence with the audience—a cherished, old record of the (fictional) 1928 Broadway smash, The Drowsy Chaperone. He explains, as he puts it on, that when he listens to it, it transports him, and makes him feel as though he is seeing it live. The Man, who simply wants “a story and a few songs to take [him] away” from the reality that is his lonely, cluttered apartment, is delighted as his imagination takes over, the walls of his home give way and the characters of Chaperone stream in, miraculously entering from his refrigerator and dancing out of his closet.
The characters of 1928’s Drowsy—gangsters (Dennis Setteducati and Marc de la Concha), a producer Feldzieg and his ditzy, blonde girlfriend, Kitty (Britt Hancock and Lindsey Devino), Latin lothario Adolpho (Roberto Carrasco), and the drowsy (read: drunk) chaperone (Patti McClure) have gathered at dowager Mrs. Tottendale’s (Kristin Netzband) home for the marriage of retiring Broadway starlet Janet Van De Graaf (Elizabeth Pawlowski) to oil magnate heir Robert (Leigh Wakeford). As he watches the drama unfold, Man in Chair provides commentary—criticizing or praising certain lyrics and jokes in the show, drawing attention to some of the smaller, less flashy moments, and giving backstage information on the actors performing in the show within a show, gossiping about their careers, rivalries, and scandals.
All of the actors sing and dance ably and their devotion to the giddy, self-aware spirit of the show is admirable, but because of the nature of the piece, there are few opportunities to expand beyond a two-dimensional character portrayal. Pawlowski, McClure, and Carrasco have brief moments of triumph, where they are able to step out of the ensemble (Pawlowski in “Show Off,” McClure in “As We Stumble Along,” and Carrasco in “I Am Aldopho"), but it is only John West, as Man in Chair, who manages to escape this fate entirely, and his droll delivery is an ideal companion to the absurdities that characterize the show within a show.
The set design is inventive, the costume design is impressive, and some of the comedic gags like the repetition of the same lyric as the record “skips” are tremendously clever. However, at times, the script veers from self-conscious to self-congratulatory.
Despite its imperfections, The Drowsy Chaperone is something that people who love musical theatre will immediately understand. However, that said, it is not necessarily a show that anybody will enjoy because to fully appreciate Chaperone, you need to have experienced or felt what Man in Chair feels for this show, whether you have obsessed over a seemingly insignificant moment in a show, felt comforted and swept away by a cast recording, or acknowledged a show’s imperfections but adored it nonetheless.

Memphis was the second stop for the non-equity touring production of The Drowsy Chaperone. The show was performed at the Orpheum January 13-18.

This article also appears on the Rhodes Codetta blog (rhodescodetta.blogspot.com). In addition to theatre coverage, Codetta features coverage on music and art both at Rhodes and in the Memphis community.

BREAKING NEWS

Due to a toe injury, Becky Gulsvig will be out of LB and Lauren Zakrin will be going on as Elle tonight...and most likely for (at least) the next two weeks' performances.

Update: Rumors of a Laura Bell Bundy return?

Read

This

"Holy Macaroni"

While I hate to delight in people losing their jobs, 13 and Young Frankenstein are gone.  Good riddance!

"Goodbye to Sandra Dee"

Grease's final curtain call (several former cast members including Laura Osnes come out on stage)

Best Adlib: "Eugene" grabbed a shocked "Patti Simcox" for a big kiss.


Side note: What an emotional day for Ashley Spencer! Having attended the final performance of Hairspray then performing for the last time as Sandy Dumbrowski, the poor girl couldn't even finish the "Sandra Dee" reprise.

"You're Timeless to Me"

This past Sunday, Tracy Turnblad sang Baltimore's praises for the last time, when the Broadway production, which opened in 2002 and garnered praise and 8 Tony Awards. Sunday's matinee was a celebration of everything "big, blonde, and beautiful" as around 80 Hairspray alum (as well as high profile guests like Christine Ebersole, Al Roker, Sarah Jessica Parker, and Matthew Broderick) stormed the stage for the show's finale.  The actors were greeted with thunderous applause and treated the audience to a high energy, moving show.

Photo Credit: Broadwayworld

Best Adlib of the night: "The Corny Collins Show...and the White House are now officially integrated!"







Scene and Heard: Marissa Jaret Winokur's son, Zev, "done up" for the occasion in a white tux with "It Takes Two" emblazoned on it, Laura Bell Bundy, Aaron Tveit, Hayley Podschun, Aubrey O' Day, Shannon Durig, Carly Jibson, Chester Gregory, Jackie Hoffman, Jen Gambatese, Shoshana Bean, Caissie Levy, Michelle Kittrell, John Hill, Tevin Campbell, John Pinnette, Paul Vogt, George Wendt, Ashley Spencer, Kerry Butler, Linda Hart, Mary Bond Davis, Alli Mauzey, Andrew Rannels, Annie Golden and choreographer Jerry Mitchell, songwriters Marc Shaiman and Scott Wittman, book writers Mark O'Donnell and Thomas Meehan, director Jack O'Brien.

In Honor of Her First Time Going On as Margot in the LB Tour

Sometimes, I Just Fall In Love With a Performer's Voice

Haven Burton favorites:

"Take Me or Leave Me" Rent


Legally Blonde

Here She Is, Miss America

Already a fan of Kate Shindle?  A woman with more talent than Legally Blonde allowed her to show, she keeps a hilarious blog  and I've now found her fancy, new website.  I implore you to give them a look.


"Alone"

A Little Late, But Still Great

Spring Awakening Cast "Hey Jude"


"With a Little Help From My Friends"


Matt Doyle "A Change is Gonna Come" (Side note: Get this guy a leading role soon, per favore?)



Eryn Murman "Both Hands"


Emma Hunton "Gravity"

For all of you in Houston, Texas

Rumor has it that Lauren Zakrin and Rhiannon Hansen will be splitting Elle duties for the week the tour is in Houston.

Oh, this seems oh so illegal.

Be sure to check out "baby" Emmett at 1:42.

"Something Good"

Watch out for this girl! Alyssa Fox just signed a deal with the producers of Wicked to fill the next available Elphaba role (whether it's on tour, Broadway, etc.)

Click for her sparkling rendition of Children of Eden's "Spark of Creation."

In other Wicked related news, Helene Yorke, currently appearing as Marty in Grease, has just landed the role of Galinda (with a GUH).

Get to know her:
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Proposition 8-The Musical

Featuring favorites Margaret Cho, Barrett Foa, Andy Richter, Maya Rudolph, Sarah Chalke, Rashida Jones, Craig Robinson, Nicole Parker (the next Elphaba) John C. Reilly, Neil Patrick Harris, Allison Janney, and Jack Black as Jesus

See more Jack Black videos at Funny or Die

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Dance: Ten, Looks: Ten

Jessica Lee Goldyn originally played Val in the Chorus Line revival.  At the end of the run, after Charlotte D'Amboise left the cast, she took over the role of Cassie.  (And thank goodness because then we would not be privy to a gem like this.)

Hey, You Know What? Productions

Spiderman.  Shrek.  Billy Elliot.  Spamalot.  9 to 5.  Hairspray.  Mary Poppins.  The Lion King.  The Little Mermaid.  Vanities.  Young Frankenstein.  Saved.  Dirty Rotten Scoundrels.  Thoroughly Modern Millie.  Carrie.  Gone With the Wind.  Dirty Dancing.

What do these shows have in common?

They have all made the jump (or are in the process of jumping) from the silver screen to the  stage.  A brilliant group of songwriters have teamed up, dubbing themselves "Hey, You Know What?" Productions, and have created a series of brilliant songs inspired by film releases.

From Twister: The Musical

Jerry Maguire: "Show Me The Money"

Scream: The Musical

"Opening"

"The Rules"

Apparently, You Can Stop the Beat

Rumor has it that something big has gone down at Hairspray.  Signs point to either an early closing or a new Tracy (possibly the return of Marissa Jaret Winokur?)

George Bush is Only "For Now"

And now a word from Leslie Kritzer, star of Legally Blonde and Harvey Fierstein's A Catered Affair:

Catching Up on 90210 with the Spring Awakening Cast

Could [You] Get Used To This?

Brian d'Arcy James as Shrek.

Sutton Foster appears with d'Arcy James as Princess Fiona.

Christopher Sieber as Lord Farquaad.

From the Seattle tryout:

"Cubby Bernstein," well known for his participation in Xanadu's Tony campaign, plays young Shrek in "Big, Bright Beautiful World."

Fiona, as a girl, as a teenager, and as a woman, hopes for he release from the curse and says of of her true love's arrival, "I Know It's Today."

Shrek arrives at Fiona's bedside, and though neither one of them realizes it, "This is How Dreams Come True."

Greetings from Oxford

I may not be in the country right now, but important things are still happening in the theatre world.

Here are some highlights from the weekend:

Bailey Hanks made her Broadway debut, headlining Jerry Mitchell's Legally Blonde.  Her vocals have improved and the key change in "So Much Better" no doubt helped the song sit better on her voice.  Be sure to listen for Autumn Hurlbert in "Omigod, You Guys!"  Her character, Leilani, sings "Elle and Warner were meant to be."

Les Miserables at the Hollywood Bowl in Los Angeles; Lea Michele, who turned down the role of Eponine in the 2006 revival (the role went to Celia Keenan-Bolger) to star in Spring Awakening, finally gets to fulfill her dream of taking on the role.  John Lloyd Young stars as Marius, and while his casting initially seemed like an odd choice, he proves to be an inspired addition to the cast.  Here, Young and Michele sing "A Little Fall of Rain."

Michele brings down the house with her rendition of Act Two showstopper, "On My Own" during dress rehearsal.

A long way from Dunder Mifflin, Melora Hardin, best known for her role as Jan, Michael Scott's unstable former boss and girlfriend on NBC's The Office, Hardin embodies another tortured female role, Fantine, and sings "I Dreamed a Dream."

Sometimes, You SHOULD Stop the Beat

Hell to the No

Our Bodies Are the "Guilty Ones"

Photo Credit: Broadway.com

 Emily Kinney (Anna), Zach Reiner-Harris (Ensemble), Gabe Violett (Otto), Caitlen Kinnunen (Thea) gather with Spring Awakening director Michael Mayer.  Awakening marks the Broadway debut of all four actors.  Emily currently keeps a blog devoted to her pursuits as a young actress in New York.  Check it out

Emma Hunton (Broadway Ilse) and Steffi D (Tour Ilse) catch up at a celebratory party.  Before joining the SA family, both pursued music.  Emma was stationed in Los Angeles, working as a singer/songwriter, while Steffi was best known for her run on Canadian Idol.  Check out some of Steffi D's performances on Idol: Here and Here.

 Christy Altomare (Tour) , Lea Michele (Original Broadway), and Alexandra Socha (Broadway Replacement) all give vastly different but equally powerful portrayals of Awakening's central female character, the doomed Wendla Bergman.  Listen to Christy Altomare's original music.  Listen to Lea Michele's special arrangement of "Touch Me."

Touring Company

"It's Not Up to Me, Just Let Me Be Legally Blonde"

...So Bailey Hanks is the next Elle Woods.  As I rewatched episodes from the season, I realized this outcome was inevitable.  Bernie Telsey and Paul Canaan have been huge Bailey fans since the very beginning and while I still believe Autumn is the more talented actress and performer, I recognized rewatching the episodes that Bailey is Elle Woods.  She really doesn't have to act, and just looking at her, you see Elle.  

But Autumn held her own against Bailey.  Here's a play by play of each number: 

"Omigod, You Guys":  
Bailey rose up from the stage floor as director Jerry Mitchell looked on, his mouth agape, his eyes full of wonder like a chid who has just experienced his first snow.  I am not sure what exactly he found so wonderous about Bailey's entrance--she just stood on a platform and turned around.  I honestly wish there had been a camera that filmed Mitchell's reactions.  During the auditions, he gasped, he oohed and ahhed, he sang along.  He was a great show, perhaps even more entertaining than Bailey and Autumn combined.  But I digress...though Bailey's vocals are not as strong as Laura Bell's, Becky Gulsvig's or Autumn's, she has a charisma that is hard to ignore. Her excitement is contagious, her spunk infectious.  She is someone I can see young girls immediately drawn to, someone who can urge young theatre-goers to beg their parents for Blonde tickets, and from a producer's point of view, that's golden.  Cha-ching!

I did not like Autumn's wig; I find it hard to believe that was the best one available.  Becky Gulsvig, the first cover for Laura Bell Bundy, has absolutely gorgeous warm, strawberry blonde wigs.  I think these would have better complemented Autumn's skin tone.  She has a very pale complexion and the wrong blonde can (and does) wash out her skin, making her appear ashen, a far cry from the golden warmth California sorority girl Elle should possess.  Autumn's vocals were stellar (particularly her final note), but she came off less "sorority girl" (or given the direction of the production, Mitchell's idea of a sorority girl) though she did give off the impression that she was a leader and a girl people respected.  

"Positive": Why hasn't Mitchell been around this whole time? He called Bailey on her habit of "schmacting," pointing out that she has a habit of playing more to the audience than interacting with her fellow actors/scene partners.  Bailey hit a few bad notes, but she more than made up for it by excelling in the dance sequence, executing the choreography crisply and infusing Elle with a young, fresh spunk.

The dance break in this number is one of my favorite parts of the show, but I knew this was going to cause problems for Autumn. "Positive" was not Autumn's best; she struggled with lyrics, awkwardly fumbled through choreography, and looked a little out of place.  A large part of her problem is that she fails to attack the music when she dances.

"So Much Better":  Autumn's rendition was fantastic.  She has a great talent for tapping into Elle's psyche and expressing the sensitivity Elle feels at the beginning of the number as well as her escalating feelings of empowerment as the song continues.  When watching Autumn, who, at twenty-eight, has struggled for her Broadway break for many years, you cannot help but want her to succeed.  She has an enormous amount of talent, and it is a shame it has gone unrecognized for so long.

Heather Hach praised Bailey's performance, citing how impressive and "believable" Elle's relationship with Warner and revelation was.  I had a very different impression and didn't find myself particularly enamored with Bailey's rendition.

Bailey was declared the winner and performed an encore of "So Much Better" with Autumn singing in the chorus behind her.  It reminded me of the Grease: You're the One That I Want finale, when Ashley Spencer and Austin Miller were forced to dance around enthusiastically behind Laura Osnes and Max Crumm just moments after learning they'd lost roles they'd been auditioning for since January.  It seems like cruel and unusual punishment to make these kids put on a happy face as they watch someone else live their dream.  

However, though my favorite girl did not win the competition, I am willing to give Bailey a chance.  I can see she has potential.  The other finalists are also benefitting from this experience; Jerry Mitchell likes to "keep it in the family" and repeatedly works with many of the same actors and actresses.  Lauren and Rhiannon are going on tour, with Rhiannon playing Margot (inspired casting) and Lauren "bending and snapping" with the ensemble and understudying Elle (and should she go on, it would be one of the few times where people will be excited to see an understudy slip in their playbills).  Autumn is taking over for Becky Gulsvig, who is leaving the Broadway company to headline the Legally Blonde national tour.  Autumn will play a myriad of characters in the ensemble, including sorority girl Leilani, as well as understudying Elle.

Extra!

Bailey Hanks (Elle Woods) and Ven Daniel's (Kyle, the UPS man) Dress Rehearsal

"For the Glory of Rydell Evermore"

Photo Credit: Broadwayworld

Ashley Spencer, the first runner up in Grease: You're the One that I Want and most recently, Hairspray's resident prima donna Amber Von Tussle, and Derek Keeling, who was most recently seen in the tryout of A Tale of Two Cities prepare for some "summer loving."

Update: Photos from Ashley and Derek's Opening Night

"We Go Together"

Photo Credits Broadway.com and Broadwayworld.com

So...I have this obsession with people's "last shows."  I love what it brings out in performances--the shear joy, the laughter, the sadness.  This week, there were a lot of "lasts," with Skylar Astin, Laura Bell Bundy, Lilli Cooper, Max Crumm, Brian Charles Johnson, Natalie Joy Johnson, Andy Karl, Laura Osnes, Matthew Saldivar, Phoebe Strole, and Remy Zaken all taking their last bow in their respective shows.  So here's a few of my favorite shots from the weekend:



The cast of Grease crowds around its leads.  After a whirlwind year where they went from struggling unknown actors to the leaders of a Broadway company, Laura Osnes and Max Crumm left Grease to pursue other projects.  Crumm is reportedly heading back to Los Angeles where he hopes to focus on television and film projects while Osnes is attached to other projects in New York including Bye, Bye Birdie and Pride and Prejudice concerts.  
Crumm carries Osnes offstage after their final curtain call.  Osnes and Crumm have enjoyed a close friendship since the beginning of their journey, having met in line the first day of casting calls for the reality show.

Laura Bell Bundy shares a tender moment with onstage (and offstage) love Christian Borle at the celebration following her final performance in Legally Blonde.  Laura Bell will next join co-star and close friend Paul Canaan to travel across the country for their Take It to the Top performance workshop series.

Delta Nu love! Laura Bell Bundy, Andy Karl (wearing a shirt referencing a line cut from the script after the San Francisco tryout), and Natalie Joy Johnson prepare for new projects.  Andy Karl will join the cast of upcoming Broadway musical, 9 to 5, starring Allison Janney, Megan Hilty, and Stephanie J. Block and featuring a score by Dolly Parton while Natalie will join the Blonde tour taking on the role of insecure beautician Paulette, a role originally played by Karl's wife, Orfeh.

Several months after Lea Michele and Jonathan Groff exited the tony winning Spring Awakening, remaining original cast members Phoebe Strole, Remy Zaken, Brian Charles Johnson, Skylar Astin, and Lilli Cooper, played their last performance.  Zaken and Cooper will head to universities.

"Take Me Baby..."

Tracie Thoms will be Rent's final Joanne.

Her portrayal in the film was fantastic, and she held her own against heavyweights like Jesse L. Martin and Idina Menzel.  While it's unfortunate that Rent is closing, it's exciting that Thoms will be a part of the end of its run.