It's That Time of Year Again

It was a ball, it was a blast
And it's a shame it couldn't last,
But every chapter has to end,
You must agree.

It was a ball, it was a thrill,
You had the grace, you had the skill
To know exactly what to say
And what to do.



The curtain falls.
Happy New Year, everybody.

"The Whisper Is..."

John Gallagher Jr. Curtain Call Speech:
Don't Do Sadness


Blake Bashoff's First Day:
Awful Sweet to Be a Little Butterfly


Parody at Gypsy Competition:
Bitch of Aging

"Something's Coming"

West Side Story is coming to Broadway. It's official. I'm pumped.

In honor of the occasion, here are some trippy clips of Cher performing a one woman version of WSS.


Part 1
Part 2

Something Wicked This Way Comes

Some Wicked vids for your viewing pleasure:

Wicked Germany


Wicked Japan





Kristin Chenoweth's Last Performance:

In Support of National Tours

I recently read on a Broadway themed message board that one person did not like going to see tour productions because "they weren't the real thing" and that she "didn't want to pay money to see less talented people perform." This really rubbed me the wrong way. Home from college, I've been in a cleaning craze, and as I was sorting through my bookshelves, I found some of my old playbills. I was pleasantly surprised to find some familiar names:

Patrick Wilson from The Full Monty, appeared as Billy in Carousel

Erin Davie from Grey Gardens, appeared in Swing!

Michael X. Martin from Curtains, appeared as Javert in Les Miserables

Sarah Uriarte from Beauty and the Beast, appeared as Julie in Carousel

Sutton Foster from Thoroughly Modern Millie, appeared as Marty in Grease

Marissa Jaret Winokur from Hairspray, appeared as Jan in Grease

Steven Pasquale from Light in the Piazza, Secret Garden in Concert, appeared in West Side Story

Caissie Levy from Wicked, appeared in Hairspray

Natalie Hill from Grease, appeared in Hairspray

Stephanie J. Block, Derrick Williams, Jenna Leigh Green, and Kendra Kassebaum in the Wicked national tour

Ven Daniel from Legally Blonde, appeared in Swing!

Aaron Tveit from Next to Normal and Hairspray, appeared in Rent

Troy Britton Johnson from Drowsy Chaperone, appeared as Corny Collins in Hairspray

Christian Borle from Legally Blonde, appeared as Riff in West Side Story

Jason Daniely from Curtains, appeared in The Music of the Night

Michelle DeJean from Chicago, appeared in West Side Story and Chicago

Natascia Diaz from Kiss of the Spiderwoman, appeared as Anita in West Side Story

Brenda Baxton from Chicago, appeared in Smoky Joe's Cafe

Ryan Patrick Binder from Grease, appeared in Mamma Mia!

J. Robert Spencer from Jersey Boys, appeared in Cats

So what's my point? When you go see a national tour, you may not see the big stars of today, per se, but you are getting to see the stars of tomorrow, which can be even more exciting.

"This Is the Season for Dreaming"

Strike is over.


Broadway is BACK!

"Mama's Got the Stuff, Mama's Gotta Move"

Patti Lupone is going to be in Gypsy on Broadway.

"Give My Regards to Broadway"...But Not to Sarah Brightman's Pirate Queen

Hope everyone had a lovely holiday...

Lea Michele and Jon Groff's "Give My Regards to Broadway" was good (though I wish it had been longer), yet so bittersweet. The parade was on this beautiful New York day, but there was a sense of sadness to it, I think. The parade always feels synonymous with Broadway, and knowing that so many shows were dark because of the strike was sad.

Legally Blonde was the only show of the four featured that was affected by the strike. Unable to perform with their regular costumes and props, they had some replacements (including some legwarmers on Laura Bell...tsk tsk). Though their performance was not as flashy as it traditionally is and not as glitzy as the other ones, they were genuinely happy to be performing together...and that was nice to see. This isn't my favorite number from the show at all, but I can understand why it was chosen--it's a scene that will be familiar to fans of the movie, and the dancing and overall giddyness will woo young girls.




Young Frankenstein...Mel Brooks' moneymaking machine. Not sure how I feel about this one...a couple things irk me...Roger Bart, the usually brilliant Stroman's banal choreography, Sutton Foster's in and out accent...but I do love Christopher Fitzgerald and Shuler Hensley, and this number, the last one in Act One, is good.



Xanadu...God Bless Kerry Butler. She's been cheated out of two rightful Tony nominations for Hairspray and Little Shop of Horrors, so let's hope this show will get her the nod she deserves. I think Xanadu suffered from the lack of exposition...the other shows had numbers that were easily identifiable with their plots, but Xanadu simply jumped right in with a medley. I'll admit, 'Du is just too campy for me, but I'll acknowledge that it might be perfect for other people.



Oh, Mary Poppins...I can't deny it. I really do like Ashley Brown and Gavin Lee. Check out "Step in Time" if you get a chance


Lea Michele and Jon Groff:


Not a theatre star, but Hairspray is on Broadway and Nikki Blonsky is just so darn cute:

"Another Opn'in, Another Show"

Julie Taymor, the woman responsible for Across the Universe, wants to make Spiderman into a Broadway musical spectacular with Jim Sturgess and Evan Rachel Wood. No...all kinds of no. Let the dear comic book hero rest.

Little House on the Prairie: The Musical also exists...with Melissa Gilbert as Ma and Patrick Swayze as Pa. Seriously, I'm crazy for Swayze from Dirty Dancing, but I don't think he belongs as the patriarch of the Ingalls family.

The strike rages on; The Grinch will get to open this week because of a special separate contract they had with the stagehand union, but the majority of the shows on Broadway are still dark. It really breaks my heart that all this continues to go on. It's hurting a lot of people, and it's sad for me to think of the theatre district caught up in this. As it is, tomorrow we give thanks with our families, but I'll definitely be giving thanks when this strike is over.

So long, farewell, auf Wiedersehen, adieu.

Ridiculously Endearing

(and pay attention to Matt Doyle and his cute puppy).

So It Begins

The strike is upon us, and as much as it pains me that much of Broadway will be dark today, I completely support the stagehands in their strike. It's a hard situation for everyone--the stagehands, the actors, the dressers, the technicians, the musicians, the theatregoers and tourists, the theatre world in general. I hope and pray it will be resolved soon and to everyone's satisfaction.

Good luck to everyone.

"I've Got Whos-its and Whats-its"

Full Preview

There's a Moment You Know...

Date of Performance: October 14 evening performance
By: Duncan Shiek (music), Steven Sater (book, lyrics), Michael Mayer (direction)

Starring: Jonathan Groff (Melchior), Alexandra Socha (u,Wendla), Brian Charles Johnson (u,Moritz), Lauren Pritchard (Ilse), Lilli Cooper (Martha), Eryn Murman (Anna), Remy Zaken (Thea), Matt Doyle (u,Otto), Jonathan B. Wright (Hanschen), Jesse Swenson (u, Georg), Blake Daniel (Ernst), Stephen Spinella (Adult men), Christine Estabrook (Adult women), Gerard Canonico (ensemble), Jennifer Damiano



...you're not at just any Broadway show. And that moment comes the second you step up to the Eugene O'Neill theater. The crowd is a mixture of die hard fans, known as "guilty ones," and people interested in seeing the 2007 Best Musical Tony winner for themselves. The show has been buzzed about since its off Broadway run at the Atlantic. So does it live up to the hype? Is it really that good?



Absolutely. It actually is.


Based on an 1891 play written by Frank Wedekind, Spring Awakening explores the adolescent experience and sexual morality of German adolescents. Originally banned because of its sexual content and social criticism, the source material is not necessarily an obvious choice for a musical. However, it works beautifully, and its sensitive, honest depiction of coming of age makes for a transcendent, intense night at the theater.

What the production does especially well is make sex mysterious again. This is the age where Britneys and Lindseys expose themselves, where Carrie Bradshaw reigns supreme, where some teenagers flippantly assess their sexual conquests and openly discuss their needs and wants. So how does the show make a connection between the teens of the 1800s and the teens of today? It pinpoints that awkward time in adolescence when we first become aware of our sexual desires, when urges, questions, and doubts cloud our thoughts and when, on the cusp of adulthood, we begin to challenge and question the world around us and yearn for knowledge and understanding.

The show tackles some heavy subjects like suicide and abuse but also looks at parent-child dynamics and first crushes. It makes the transitions from one subject to another smoothly. What is particularly interesting here are the characters and the actors who portray them. It's easy to see a lot of ourselves in them, especially in the main trio. Fascinating Melchior, played brilliantly by Jonathan Groff (who in person could not be more different than his character) is the kind of person we have all wanted to be at some point. Thea, one of the schoolgirls in the show, marvels at his rebellious nature, and it's no wonder. Melchior stands up for what he believes in, he's brash, he's intelligent, he's a fighter. Unwilling to blindly accept everything he's told, he encourages those around him to ask questions as well. He's a bit of a smart aleck, but at the same time, he is extremely sensitive-- his feelings for lover Wendla and friend Moritz run deep. In the hands of a less talented actor, Melchior could be a one note character, but Groff really develops an interesting arc; Melchior is angry and sullen, but he is vulnerable too and even more importantly, he makes mistakes. Groff fully commits to the character and at one point, sings, "You watch me, just watch me, I'm callin, and one day all will know." Well, one day, hopefully all will know about Groff. He has the potential to have an incredibly interesting career. Melchior's best friend Moritz, originally played by John Gallagher Jr and played by Brian Charles Johnson in the performance I saw, is brimming with nervous energy. Moritz struggles with school, with his father, and with his emerging hormones and becomes so overwhelmed and hopeless that he makes an extreme choice. Moritz oozes angst in every way and his pain is our pain. Fragile Wendla, the first character we meet in the show, wants so badly to break out of her innocent, sheltered existence. She wonders where babies come from, what it feels like to be beaten, and claims she's "never felt...anything." She longs to grow up and not be a child anymore; unfortunately her mother has not adequately prepared her for the realities of being an adult. At the performance I attended, Alexandra Socha was in for Lea Michele, and she gave a solid performance. Aided by her youthful appearance, she was able to capture the full degree of Wendla's naivete, though I will admit that the age/physical mismatch of her and Groff was a little unsettling.
The rest of the cast is remarkably strong; there's really not a weak link to be found. Eryn Murman's religious, rule abiding Anna is fascinating, Johnny B. Wright's bombastic Hanschen was hilarious and creepy at the same time, wide eyed Remy Zaken perfectly captured Thea, a girl dizzied by a crush, and Lilli Cooper as Marthe was remarkable. Cooper, lauded for her consistency really is remarkably talented. Still a high school student, she makes me feel like I have accomplished absolutely nothing in my life. I sat directly in front of her in the front row and was impressed by her overall intensity and her tears in "Left Behind." (And my mother thought she had the most amazing skin...but that's my mother for you.) Blake Daniel, who had the tough task of being the first replacement for an original company member, was endearing as Ernst and his voice was absolutely beautiful. I'd heard a lot about the so-so acting of Lauren Pritchard, who plays bohemian Ilse, but I honestly found no fault with her. Her moody, soulful voice is beautiful and adds a layer of sadness to free spirited, ethereal Ilse . I sadly missed out on Skylar Astin and Phoebe Strole, who were out filming Hamlet 2 , but I did get to see swings Jesse Swenson and Matt Doyle. As silly as it sounds, I am convinced Matt Doyle can do no wrong and Jesse was fine--not bad, but not great either.. Sitting among audience members, Jennifer Damiano and Gerard Canonico (who I'm convinced never stops moving) also gave good performances. One of the special things about this show is that it doesn't suffer when understudies are on--and that's a credit not only to the material, but to the performers as well. It's interesting the read message boards--this is one of those shows where people actually get excited about seeing a swing because they're so interested in different interpretations. Oh yes--and before I forget--my greatest praises go to Stephen Spinella and Christine Estabrook (who some of you might recognize from Desperate Housewives) who play the Adult Man and Woman. Spinella is especially good in the scenes where he portrays Moritz's father; Estabrook shines in her comedic scenes as Wendla's mother and Georg's piano teacher. Each individual, even the ones with limited material, makes a significant contribution to the overall power and beauty of the piece, which exceeds each of the individual contributions.

The real life inspirations for the characters of the show may have suffered in silence during Wedekind's time, but lyricist Steven Sater and composer Duncan Sheik gives them a voice in the form of electric rock music and haunting melodies, and raw, energetic numbers like "Bitch of Living" are just as relevant as the delicate "Left Behind" tribute. The juxtaposition between the two different time periods is striking and effective. And though it is unorthodox to see a young boy in a stiff jacket and breeches pull out a handheld microphone and sing a song like "Totally F****d," it makes absolute sense at the same time. Have we not all at some point felt that same kind of exasperation? And furthermore, don't most of us have a small part inside of us that wants to be a rock star? I doubt I'm the only one that has jumped around my room using hairbrushes and remotes as makeshift mikes. Though the teens of the 1800s did not have the benefit of stereos, microphones etc., it is reasonable to assume that they still had an inherent desire to express themselves. The score is exquisitely beautiful, the rhythms addictive, and the arrangements are powerful--it is definitely necessary to experience the music live; the cast recording doesn't do it justice.

Music aside, the rest of the production is put together well. The creative team across the board is strong; Kimberly Grigsby, the music director, "rocks out" on stage as she conducts and has to be one of the coolest women around; Christine Jones' essentialist set design is an intriguing choice for a Broadway musical (did I mention that part of the audience gets to sit onstage?); Kevin Adams' light design is gorgeous and rich; Susan Hilferty's costume design is meticulous (for example, though the schoolboys all wear uniforms, each costume has something distinct about it--the kind of boots or amount of embellishment on the jacket.) Props are utilized sparingly and symbolically---Ilse's bouquet of flowers in one scene becomes the flowers for her friend's coffin in a later scene.
My particular favorite was Bill T. Jones' choreography. The slow movements Wendla goes through during the beginning of the show in "Mama Who Bore Me" are echoed throughout until they finally come to a frenetic boiling point in "Totally F****d." There's a sense of controlled chaos to many of the numbers and a stomping motif that almost challenges you to listen to the music and NOT stomp and bob along.
Michael Mayer's direction is wonderful. The first act gradually gains momentum until it finally explodes, appropriate given that this is a show about puberty. Mayer has constructed a mesmerizing show that is a poignant, heartwarming, and complex glimpse into the teenage psyche.

A couple notes though--the show isn't for the prude--it has a masturbation scene, nudity, a sex scene, a kiss between two men...so be prepared. It's not crassly done at all, but it's not G rated. Think twice before bringing Grandma...unless you happen to have a really cool Grandma.


Highlights:
I'm not sure I can pick one--it's wonderful from the very beginning to the wistful "Song of Purple Summer" at the end.


Just go.

The Importance of Being Earnest

Germantown Community Theatre

The Great: Oscar Wilde's sharp script. It's golden material to work with.
The set design is well thought out, especially given the small space, and the in-character set change in between Act II and III is genius.
Joanne Malin's performance as Lady Bracknell--knocks it out of the park.


The Eh:
Daniel Pound's performance as Lane is one of the most boring things I have ever seen. He brought absolutely nothing to the part.
Tripp Hurst's performance as Jack is misguided. His accent comes and goes and he drops too many of his punchlines.
The physical mismatch of the actors playing Jack and Gwendolen--her timing is great, but she looks too old for him, and really, just too old for the part.

Those Magic (and Not So Magic) Changes

Date of Performance: October 14 matinee

By: Book, music and lyrics by Jim Jacobs and Warren Casey; additional songs by Barry Gibb, John Farrar, Louis St. Louis and Scott Simon; directed and choreographed by Kathleen Marshall

Starring: Max Crumm (Danny Zuko), Laura Osnes (Sandy Dumbrowski), Ryan Patrick Binder (Doody), Susan Blommaert (Miss Lynch), Jeb Brown (Vince Fontaine), Stephen R. Buntrock (Teen Angel), Daniel Everidge (Roger), Allison Fischer (Patty Simcox), Robyn Hurder (Marty), Lindsay Mendez (Jan), Jenny Powers (Betty Rizzo), José Restrepo (Sonny LaTierri), Matthew Saldívar (Kenickie), Jamison Scott (Eugene Florczyk) and Kirsten Wyatt (Frenchy)


Back in January, a show called Grease: You're the One That I Want premiered on NBC. It was sort of American Idol on crack, a strange hybrid of a number of reality shows, and featured 14 fresh faced stage actors vying for the coveted leading roles of Danny Zuko and Sandy Dumbrowski in a Grease revival. An interesting (and risky) idea, it featured some of the staples we come to expect from our reality fare--bitchy Brit judge David Ian, confessionals, and a high cheese factor. In some ways, it was worse than American Idol: Each contestant was assigned a color (all their costumes, jackets, etc. were in this color) and given a nickname. Examples include: "Spiritual Sandy" and "Boy Band Danny." However, despite all the silly skits and inane pop songs the contestants were forced to endure, one thing was blatantly clear--the contestants were charismatic, likeable...and (gasp!) talented. I clearly remember when the competition got down to the final four. There was Austin Miller, "Hot Danny," who I'd seen as Link in the Hairspray tour, Ashley Spencer, "Ballerina Sandy," who is now currently on Broadway as Amber Von Tussle, Max Crumm, "Slacker Danny," and Laura Osnes, "Small Town Sandy." Physically, Miller and Spencer seemed better suited to the roles--Miller with his typical good looks and Spencer with her tall physique and blonde hair. Coming into the competition, Crumm and Osnes were the underdogs--Crumm was presented as a goofball and got a lot of attention because his looks aren't that of a matinee idol, and Osnes had the "audacity" to be a brunette. However, when it came down to the final vote, it was Laura Osnes and Max Crumm America wanted for the Grease revival.






There was a lot of skepticism surrounding this casting... Was America really fit to decide who should helm an expensive Broadway show? Were Laura and Max really the ones right for the roles? Would they do well?

The fact of the matter is that Danny and Sandy aren't extremely demanding roles to play. They're really not that well written, and I'll go as far as to say that Laura Osnes and Max Crumm give good, but not great, performances. Between the television show and the Broadway run, it's clear that Crumm has put in a lot of work. He's toned down the goofball act, his voice is stronger and he proves himself to be a good dancer and actor. However, if you come to Grease expecting John Travolta's Danny, you'll be sorely disappointed. Crumm's Danny walks with a swagger and is obnoxious and mischievous, but shows more moments of teenage insecurity and sensitivity. It is a credit to Crumm's enormous likeability factor that even when Danny is a jerk and acts obnoxious, we still accept that he is a character of great humanity, and we understand why (and how) a girl like Sandy could fall for a guy like him. While some critics have pointed out that Crumm's nerd looks would detract from his Danny, I find it's actually the opposite. Danny, as the leader of the pack, doesn't have to be the best looking guy in school. Were the popular boys at your high school always the best looking? Not necessarily. They were popular because of the way they carried themselves and commanded attention. Crumm acts as if he's the best looking and smoothest guy in school, and it works. Osnes does as much as she can with Sandy, especially given that the character's not even onstage that much. Her "Hopelessly Devoted to You" rendition is beautiful, and her eyes instantly well up with emotion. Her one downfall is her physical slightness; she's a tiny woman and sometimes gets overpowered in her scenes with the Pink Ladies, especially Jenny Powers. Crumm and Osnes play off each other well; their chemistry is not smoldering; it is more lighthearted and sweet. It's really up to personal preference what kind of Danny and Sandy you prefer--sexually charged or intoxicated with first love.


The Pink Ladies and the Burger Palace Boys lend a good dose of comedy. Jenny Powers is fantastic; she stands out and makes Rizzo a tough, cynical, guarded girl simmering with sexual energy. Her passionate rendition of "There Are Worse Things I Could Do" is brilliant, revealing, and dramatically involving. Matthew Saldivar, most recently seen in The Wedding Singer understands that Kenickie is not a one-note character. Oozing with machismo, Kenickie is a little boy in a man's body. He is eager to be an adult and have sex, but is unprepared for the ramifications of his actions.

Rounding out the gang are Ryan Patrick Binder as Doody, Daniel Everidge as Roger, Jose Restrepo as Sonny, Robyn Hurder as Marty, Kirsten Wyatt as Frenchie, and Lindsay Mendez as Jan. Each actor makes an important contribution--Hurder's Marty emulates Marilyn Monroe, Wyatt brings a cute girlishness to Frenchie, and Mendez makes pudgy Jan, a role fairly boring in the film version, interesting. Of everyone, Restrepo lands his punchlines the best and Binder is especially good at recalling teenage insecurity. However, the real scene stealer here is Daniel Everidge who whoops, hollers, and sings like nobody's business. Who knew a ballad titled "Mooning" could be so fantastic? The actors are perfectly cast according to acting ability; unfortunately, with the exception of Binder, Crumm, and Osnes, they all look way too old to be in high school. This is the era of Spring Awakening, which features actual teenagers. It's not as easy to get away with casting 20 and 30 somethings as 15 year olds anymore.

With the exception of Teen Angel Stephen Buntrock, the bit players are unremarkable. Allison Fischer, who made an impressive debut as Claudia in the ill conceived stinker Lestat deserves better than the material she's given to work with as Patty Simcox, and to be perfectly frank, Jamison Scott is just too attractive and put together to be Eugene.

For a revival that cost 10 million plus, it does not show. The sets are cheesy, sparse, and ugly, and the costumes are horrendous. The one positive is the clever car transformation in "Greased Lightnin."

This production is also the first to include "Grease," ballads "Hopelessly Devoted to You" and "Sandy" and puts "You're the One That I Want" in the place of "All Choked Up." Though I love Barry Gibb's "Grease," it comes off as too disco when grouped with the rest of the songs. However, I did appreciate the new arrangements of the other three songs.

So Grease sounds like it was pretty good, right? Well...yes and no. The cast is overall strong and the music is dynamite. So what's the problem? The problem is surprising: Kathleen Marshall's directing. Lauded for her impressive mounting of The Pajama Game, I expected her to be the glue that kept this production together. Instead, her poor direction is what threatens it. Grease, when it was first produced, was a rowdy, raw show that took a look at how rock and roll changed sex in America, the cultural shift between the 50s and the 60s. It was also a nostalgic piece and originally featured a prologue where all the characters were reuniting after many years apart. The 1994 revival was very tongue in cheek, a goofy romp, a caricature of the times. This revival is none of these--it's too clean cut, too straight forward, and the social commentary of the period is completely overlooked. Grease has lost its spice--what's left is a sugar coated skeleton of what it once was.

Don't get me wrong; if you go, you'll have fun, you'll laugh, you'll dance in your seat. That much hasn't changed. But the message behind the music has.



Opening Night

"It's Turkey Lurkey Time"

More info on Macy's Parade

Lea Michele and Jon Groff will be on the M&M Candy Float. The colorful M&M’s are at it again, this time taking Broadway by storm. Red and Yellow, along with Blue, Green and Orange have transformed into Broadway stars taking the stage in the best productions on the Great White Way. Taking a ride on a Broadway themed float, the colorful chocolate bunch take on roles in some of Broadway’s best-hit musicals. Red transforms into King Arthur in Spamalot, Yellow and Orange tap dance their way onto the front of the line in A Chorus Line, Green defies gravity as Elphaba in Wicked, and Blue hides behind the Phantom’s mask in The Phantom of the Opera. Joining the tasty stars will be Lea Michele and Jonathan Groff, stars of the Tony Award(R) winning Spring Awakening, performing "Give My Regards to Broadway."


Legally Blonde will be performing "What You Want" and Mary Poppins will be performing "Supercalifragilisticexpialidocious." The original Christine Daae Sarah Brightman will be performing as well as Nikki Blonsky from Hairspray and Anika Noni Rose (of Dreamgirls and Caroline, or Change), and I just read that Xanadu will be doing a medley of songs.

Exciting stuff in store, I'd say.


And in other news, Equus is crossing the pond and coming to Broadway sometime next year, complete with Daniel Radcliffe. Poor guy; Equus is a great play and I've heard he does a great job in it, but something worries me that most people are going to go just to see "Naked Harry Potter" and miss the point of the play and the strength of his performance.

With God As My Witness...

Gone with the Wind is going to be a musical. Shrek:The Musical is going into workshops. thoughts?


Update: Jill Paice is going to be Scarlett. Oh lord.

Aaron Fox Misses the Music. Well, I Miss David.

Date of Performance: October 13 evening

By: Rupert Holmes (book), John Kander (music), Fred Ebb (lyrics), Scott Ellis (direction), Rob Ashford (choreography), William David Brohn (orhestrations)

Starring: John Bolton (u,Lieutenant Frank Cioffi), Debra Monk (Carmen Bernstein), Karen Zeimba (Georgia Hendricks), Jason Danieley (Aaron Fox), Jill Paice (Nikki Harris), Edward Hibbert (Christopher Belling), Michael X. Martin (Daryl Grady), Noah Racey (Bobby Pepper), Ernie Sabella (Sidney Bernstein), Megan Sikora (Bambi Bernet)


I'll be honest...Growing up, I watched a lot of Frasier. In fact, when I was younger, I had a much better understanding of who Frasier and Niles Crane were than I did of Cory Matthews and his girl Friday, Topanga Laurence. I was raised to be a Frasier fan, and in turn, I grew up loving David Hyde Pierce.

I knew he was part of a new Broadway show, but in all honesty, I didn't know that much about it until the Tonys rolled around. I have faithfully watched the Tonys for several years now, and when I realized what Curtains was and that David Hyde Pierce was involved, I was extra pleased to see one of my favorite television personalities back on screen, right in my home. My mother and I had been wanting to go to New York for awhile, and something about watching the Tonys this past summer gave us the extra push we needed. We each made a list of dates we could travel and ranked our list of shows we wanted to see. First on my mother's wish list: Curtains with David Hyde Pierce. The thought of getting to see him perform live after missing his Sir Robin in Spamalot was exciting to her, and we quickly bought tickets.

...So you can imagine our disappointment when David Hyde Pierce was out on vacation the night we went to see the show.

That's the backstory. Now here's the review.



Curtains, with its big musical numbers, numerous costume changes, and cheeky book, reminds me a lot of the musicals I saw growing up, and rightfully so. The show takes this format and pays tribute to the musicals of the past, but adds its own twist. It's a who-done-it murder mystery which is a nice mix up, but even more importantly, it is particularly self aware, making jokes about theatre critics, directors, and actors.

The show opens on the eve of the Boston opening of Robbin' Hood, a western musical. The pre-Broadway cast gives it their all in the closing number of the show, but their efforts simply cannot outweigh the fact that the star of the production, a film actress, simply cannot sing, dance, or act. When she dies during the curtain call, no one seems distraught over her death; in fact, it is quite the opposite. The director, played by the dry Edward Hibbert (also of Frasier) is glad to be rid of her. Carmen the producer, played by Debra Monk, tries to find a way to save the show, while the lyricist/composer team and estranged husband and wife Aaron and Georgia attempt to quickly rewrite the musical numbers. The cast wants to opt out; the show has been massacred by early reviews, and they simply want to go in search of better jobs. However, police lieutenant Frank Cioffi (David Hyde Pierce), sent to investigate the murder, proves to be more than they bargained for. He's not only a policeman doing his job; he's a wannabe song and dance man. Cioffi infuses the Robbin' Hood production with much needed inspiration, and he plays a large role in bringing the killer to justice and saving the show.

Acting wise, this show is top notch; Debra Monk is as sharp and witty as ever and her Carmen lends a good sense of sass. Megan Sikora, as Carmen's blonde bombshell daughter Bambi, is a scene stealer, and presents a character that is both brassy and vulnerable. Though they do not have a strong physical resemblance, Sikora and Monk craft characters that are psychologically similar. Karen Ziemba as Georgia, the writer tapped to take over the lead role, is wonderful; she acts from the top of her head to the tip of her toes and every one of her actions is utterly believable. Jason Daniely, with a beautiful tenor voice, brings a great deal of wistfulness and regret to his character, but is sorely underused. Jill Paice, as the suspiciously sugary sweet ingenue Nikki was pleasant, but I must admit, the tone of voice she affects really began to grate on my nerves. I particularly enjoyed Noah Racey as Bobby, George's former lover and the male lead of Robbin' Hood.

The staging is creative, but I do find some fault with the choreography. Most of the time it is extraordinary, but for a show that wants to pay tribute to musicals of the past, it simply is not appropriate for there to be a great deal of "crotchcentric" moves. It just doesn't make sense. In addition, the script is not the strongest. Riddled with jokes, some work well, and others are too cliche and just seem to want to knock you over your head. The show within a show concept is a bit precarious; sometimes it works, sometimes it doesn't. Leaving the theatre, I admit, I felt uneasy and frustrated because I wanted to like this so much--featuring a talented cast and a score by Kander and Ebb, I wanted it to blow me away, but the sum of the show's parts just didn't make for an entirely enchanting, exciting finished product.

And (you knew this was coming) I have to say, the absence of David Hyde Pierce was strongly felt. Detective Cioffi is central to the plot and the heart of Curtains; his physical awkwardness and sheer delightful fascination with theatre require a particularly dynamic and charismatic actor. Without that, we just aren't pulled in, and we aren't invested in Cioffi. And without Cioffi, the whole thing suffers. The understudy just didn't do it for me. What can I say? David Hyde Pierce is a tough act to follow.


High Points:
Megan Sikora in "Kansasland"--Her dancing and acrobatics will take your breath away
"I Miss the Music" and "Coffee Shop Nights"--Beautiful Ballads; Ebb and Kander at their finest
"Thataway"--Exciting number, great choreography, and a great performance from both Karen Ziemba and Noah Racey
"A Tough Act to Follow"--Musical theatre fantasy; Enormously engaging and charming
"It's a Business"--Debra Monk at her coolest
"He Did It"--great staging and interaction between characters
"Show People"--Sure to be a classic, it's an anthem for performers everywhere.

Low Points:
"What Kind of Man?"
Obvious Jokes





Check it out

Are You There?

bare. (a pop opera)
The recording comes out soon (October 30 to be exact), and I'm thinking it's going to be absolutely wonderful. (And I'm not saying that just because Matt Doyle is a part of it, and I think he's absolutely adorable.)

Anyways, the show centers on two teenagers, Peter and Jason, and their struggles within their private Catholic school. Throw in Romeo and Juliet, drugs, religion, teenage insecurity, homosexuality, and sex, and you've got a winning combination. Anyways, I don't want to spoil it so go discover it for yourself.

Check it out

An Open Letter to Hollywood

If your film version of Sweeney Todd is as stilted as your Rent interpetation, I will be severely disappointed. (My respect to Chris Columbus; Rent was your labor of love, but c'mon, Roger singing "What You Own" while driving through the desert? How contrived.)

An Open Letter to Broadway

Please revive West Side Story.

IT'S TIME.

Update: They are reviving it! 2009!

"Omigod You Guys"...Legally Blonde is Really Good

Date of Performance: October 13 matinee

By: Laurence O’Keefe and Nell Benjamin (music and lyrics), Heather Hach (book), Jerry Mitchell (direction and choreography), David Rockwell (scenic design), Gregg Barnes (costume design), Ken Posner & Paul Miller (lighting design), David Brian Brown (hair design)

Starring: Laura Bell Bundy (Elle Woods), Christian Borle (Emmett Forrest), Orfeh (Paulette), Michael Rupert (Professor Callahan), Richard H. Blake (Warner Huntington III), Kate Shindle (Vivienne Kensington), Nikki Snelson (Shandi/Brooke Wyndham)


I'll be the first to admit that when I first heard Legally Blonde, the Reese Witherspoon girl power sleeper hit of 2001, was making a transfer to the Broadway stage, I balked. The idea seemed ridiculous and I hoped the idea would go the way of Donald Trump's musical version of The Apprentice--a-way, that is. However, like Vivienne sings in the song "Legally Blonde: Remix," when I'm wrong I say I'm wrong, and I was wrong about this.

For those of you who are unfamiliar with the film's plot, let me bring you up to speed. Elle Woods, a beautiful Delta Nu sister from Malibu, is expecting her modelesque boyfriend Warner Huntington III to propose to her one night during an intimate dinner for two. Instead, he dumps her, explaining that his family's political aspirations for him simply cannot include her; he needs a wife that's "less of a Marilyn, more of Jackie." Elle, heartbroken and determined to win back Warner, follows him to Harvard Law School, only to find he has already replaced her with Vivienne, a serious, scowling brunette. Elle repeatedly tries to win back his affections, along the way befriending awkward Paulette at the local beauty shop and Emmett, her law professor's apprentice. Elle is miraculously chosen by her professor to serve on the defense team for Brooke Wyndham, a fitness guru suspected of killing her much older husband. Elle earns Brooke's trust (they're both Delta Nu sisters) but once she accomplishes this, her professor shows his true reasons for adding her to the team--he's a sleazeball and sees her just as eye candy. Elle's first reaction is to leave the team, but she is convinced by her friends to stay, and eventually defends Brooke successfully, proving that there's more to her than her looks. Now that I think about it, it really shouldn't have been a surprise that this musical is so vibrant and fun. The movie is fluffy and and silly, with a colorful cast of characters, and a heart of gold--ingredients that often blend to make a successful musical. Legally Blonde: The Musical takes a lot of the things we love about the film, but adds its own sparkle; it's like the movie, "only funner."


The score is repetitive and not amazing, but with a good beat and spunky lyrics, whether you like it or not, it will get stuck in your head. Heather Hach's book has both good and bad elements. It succeeds in further exploring several characters including Paulette (Orfeh in the stage version, Jennifer Coolidge in the film), Brooke (Nikki Snelson here, Ali Larter in the film), and Emmett Forrest (Christian Borle of Spamalot fame, blah Luke Wilson in the film.) The book is especially strong regarding Emmett, who is given the backstory of having come from the slums and working his way up. However, it greatly fails with its treatment of Vivienne (Kate Shindle in the stage version, Selma Blair in the film). In the movie, Vivienne and Elle initially do not like one another, but there is a gradual development of friendship and mutual respect. Here, in the musical, Vivienne's turnaround seems too abrupt. There are no events to explain her change of heart, her dumping of Warner, or her defense of Elle. The Vivienne-Elle relationship is one of the most interesting ones in the film, but is sadly too disregarded in the stage version. Some of Hach's other edits and choices are questionable--several of the key jokes from the film have been rewritten, other supporting characters cut (what happened to the nerdy, awkward genius Elle befriended or the female professor who helped mentor her?) and there are less opportunities for Elle to display her intelligence, making it more difficult for Laura Bell Bundy to create a strong character arc.

The costumes are brightly colored and vivid, the sets are well used, and the scene changes and transitions are well designed. Mitchell also includes Elle's sorority sisters in more scenes, cleverly making them the "Greek Chorus" that expresses Elle's thoughts. However, on the downside, for the performance I attended, swing Cara Cooper, replacing Tracy Jai Edwards for the day, seemed to be suffering from bad-wig-itis. Simply horrid. And--it must be said--since this is Jerry Mitchell's directorial debut, the choreography is outstanding.


This is a starmaking role for Laura Bell Bundy, make no doubt about it. Previously seen as an understudy for Galinda in Wicked and probably best known for creating the role of evil Amber Von Tussle in Hairspray, Bundy steps up and makes her presence known, announcing to Broadway that she is a force to be reckoned with. Her Elle definitely pays homage to Reese Witherspoon's but at the same time, remains entirely her own. Blessed with a gorgeous voice, killer comedic timing, and a great physical presence, her Elle is even more endearing than Witherspoon's--a romantic at heart, she's a vulnerable, and sometimes silly girl, and is a character of great warmth, compassion, and ultimately, intelligence. Bundy executes director Jerry Mitchell's choreography flawlessly, sings her heart out, and makes the most of what she's given. She's completely devoted to the material, and rises above the musical's less impressive parts (she helps compensate for Heather Hach's book and does her best to overcome the way Elle is written as a "dumb blonde." She is a huge reason why the show works; she makes us truly care about Elle.


Christian Borle complements Laura Bell well. He definitely does not fit the mold for a typical romantic leading man, but his slightly dorky appearance (and by his own admittance, lack of chin) actually work in his favor. This casting choice was clearly carefully calculated. Having Borle appear as the new leading man in Elle's life helps bring her journey full circle. At the beginning of the show, Elle is in love with a handsome, dreamy playboy who does not respect her. When Elle falls in love with Emmett, it is another expression of her newfound self worth. Emmett may lack the matinee idol looks of Warner, but he respects her and offers her love, support, and friendship--things that are more important and more valuable than wealth and appearance. Emmett in the movie is not given a lot to do; very little is known about him; he just pops in and out to mentor Elle. Emmett here is a more constant presence and he is very early on established as an outsider, explaining more why he forms this unlikely connection and later, attachment to Elle. Bundy and Borle have good chemistry, not so much sexually, but in a more PG/PG-13 way, which given the primary demographic of this show, is probably a good thing. Their scenes together are fun to watch and utterly believable.

Jennifer Coolidge's Paulette is one of the funniest sidekick roles in recent years. It literally put Coolidge on the map, drawing her into the spotlight. Orfeh wisely avoids copying Coolidge, understanding that it's a performance so unique it could never be replicated. Orfeh's Paulette is a mixture of funky, awkward, and brassy and Orfeh belts out her numbers in a rich alto tone. Orfeh makes an enormous impression as Paulette; the minute she appears on stage, she is instantly likeable and warm and she finds humor in dialogue that could come off as flat if given to a less dynamic performer. The casting of Orfeh's actual husband Andy Karl as the UPS Guy adds a fun dimension for the audience...it's easy to see their attraction to one another.


Richard Blake as Warner, Kate Shindle as Vivienne, Nikki Snelson as Brooke and Michael Rupert as Callahan all do fine jobs in their supporting roles, making the most of the their moments, but never drawing too much attention from Bundy's Elle. Extra kudos to Snelson for pulling off such a high note after jump roping for four minutes straight. Haven Burton as Margot and Asmeret Ghebremichael as Pilar are adequate; Burton (who is still struggling with her interactions with Bruiser, played by Chico the dog) seems a little annoyed and mocking of the material while Ghebremichael lacks focus--she has great energy, she just doesn't always channel it well. For a better interpretation of Margot, check out MTV's taping with Annaleigh Ashford, who just left the show to float in Galinda's bubble in Wicked.

High Points:
"Omigod, You Guys"--the opening number WILL ABSOLUTELY get stuck in your head. The music is addictive, the energy infectious.
"Serious"--Echoing a cheesy pop ballad from the early nineties, it is a good number to show off Blake's smooth voice and Bundy's gift of physical comedy.
"Positive"-High energy, great choreography; you'll laugh when they "shake their junk."
"So Much Better"-Act I closer, best number in the show. If you've ever had your heart broken, you understand where she's coming from. It's a great anthem for reclaiming and celebrating your life.
"Legally Blonde"--I wasn't originally a fan of this song (based on the soundtrack), but onstage, the sheer vulnerability and sadness of Laura Bell Bundy and the desperation and longing in Christian Borle was enough to make me a convert.
"Legally Blonde: Remix"--Mitchell's choreography here is dynamite. Though the music is not great, the humor and energy turn this number into an absolute showstopper.
"Bend and Snap"-such a huge part of the movie, it doesn't disappoint here either. Plus, Orfeh's vocals here are amazing.

Low Points:.
"Take It Like a Man"-Gives Bundy and Borle some beautiful moments to share with each other, but its message seems a little weird. In the scene, Elle takes Emmett shopping to get a nice, expensive suit to impress Callahan, but isn't the whole show about being who you are, no exceptions? There's a mixed message sent--it's okay to be pretty and smart, but not just smart?
Too many gay and lesbian jokes. A few is fine, but there were way too many.
"Find My Way"--Good song, don't get me wrong, but as a finale, it was unsatisfying. I was not a fan of the whole "Where Are They Now?" concept.

Whatever you want to say about Legally Blonde, it, like Hairspray, Mary Poppins, and the current revival of Grease, is bringing a whole new group of people, a different kind of audience to Broadway. It is fluffy, but I encourage you not to discount it. It's not a groundbreaking piece, but it is fun, energetic, and at times, remarkably poignant.



Full preview