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. 

Some Fun Finds

The multi talented Leslie Kritzer played Shelley, one of the "Nicest Kids in Town" in  2004, but had the opportunity to understudy Tracy Turnblad.  Here is a recording of her rendition of Hairspray's opening number "Good Morning, Baltimore."


Leslie Kritzer, with minimal rehearsing and little notice, went on as Paulette in Legally Blonde.  Orfeh, who rarely calls out, was sidelined for sickness and because of her stellar attendance record, understudies Amber Efe and Gaelen Gilliland's costumes were not prepared.  Kritzer could fit the costumes and was given the opportunity to shine in a bigger role.  Here, she sings "Ireland."


Best friends and former Wicked costars Megan Hilty (Galinda) and Shoshana Bean (Elphaba) switched roles for the night in the Meg n' Sho Wicked Swap.

Variety Show: Thoughts from the Week

I've seen some rehearsal videos of Aubrey O'Day and I'll admit...she's much better than I expected.  While I cannot confidently say she will be a stellar Amber, I do think there is potential there . Check it Out

I've also seen video from the open 9 to 5 rehearsal, but I was a little frustrated that all they showed was the title song. I understand that that is the most recognizable tune, but I really wish we'd gotten to see hear more of the score. There's no way to gauge the quality of the score. However, I'll give Dolly Parton the benefit of the doubt.  I am also a huge fan of Allison Janney, I think Megan Hilty is perfectly cast, and I'm excited to see Stephanie J. Block in another leading role.  I'm a huge fan of her voice, and it's a shame she hasn't had more opportunities to showcase her talent. Check it Out

The Search for the Next Elle Woods...Some how, though I didn't intend it, I managed to get incredibly invested in this show.  The reality show has pulled me in.


The reality is...not one of the girls left is a triple threat.  The best Elle would have a combination of Bailey's dancing, Autumn's vocal ability, Lauren's character choices, and Rhiannon's quirkiness and bone structure.  But the reality is...that's not an option.  The "What You Want" audition was insane; with the exception of  "Legally Blonde: Remix," it's probably the most challenging number in the show.  Autumn maintained good energy throughout but failed to master the tap combination and Rhiannon lost her breath (and sang with an extremely weak voice).  In my opinion, Lauren and Bailey probably did the best job overall (yes, folks, I just complimented Bailey.)  After the Amazon.com snafu (which sounds like Bailey unless Autumn is singing in some crazy head voice) and in the light of recent "spoilers," it's looking like  Bailey win with a possibility of Autumn earning an ensemble track, and honestly, that breaks my heart.  Bailey is very cute, but that's it; there's no depth there, her acting is weak, and she's merely giving an imitation of Laura Bell Bundy...and guess what, Bailey?  Laura Bell did it better.  I've resigned myself to the fact that come Monday, I will most likely be disappointed with the results...however, while this does make me upset about the New York production, I am looking forward to the tour even more.  I've learned to have a greater appreciation for Becky Gulsvig, and it'll be nice to see Lauren.

Moving on...

Several Confessions:

I absolutely love Mamma Mia.  The first time I saw this show, I was in the midst of breakup number two from the high school ex-boyfriend from hell and I cried during "The Winner Takes it All."  The second time I saw it, right before my high school graduation, my mother and I were both in tears during "Slipping Through My Fingers."  This show--as silly, campy, and ridiculous as it is--means a lot to me. 

I love Meryl Streep and Colin Firth.

I love the way Greece photographs on film.  It's gorgeous, and every time I see the landscape in a movie, I yearn to go there.

And I absolutely hated the Mamma Mia film.

And this isn't a case of "I saw the stage show and nothing on film could ever compare and the movie has to be exactly like the show."  I don't approach musical adaptations like that.  I enjoyed Hairspray and Chicago a great deal.  But this---not so much.

Meryl Streep gives her campiest, weakest performance to date, Pierce Brosnan cannot sing (and I actually laughed out loud during several of his numbers), and my favorite relationship, Bill and Rosie, was diminished; they barely interacted and "Take a Chance on Me" came off out of the blue, desperate, and awkward. 

Why the narrative plot holes?  Why the awful fantasy sequences in "Money Money Money"?  

The director staged this film in an awful, absolutely misguided way, with such frenetic over produced cinematography.  I actually found myself cringing at moments.  However, the movie does have its moments...and most of them involve the divine Christine Baranski and the hilarious Julie Walters.  Thank goodness for them.

"The New Girl in Town, Who Just Came on the Scene"

Aubrey O'Day in Hairspray.

Variety Show: Vids

Phoebe Strole plays idealistic Anna in Spring Awakening.  During summer 2007, she had several opportunities to play the more complex Wendla.  Though she gave strong performances, producers opted to give swings Alexandra Socha and Eryn Murman priority when choosing Wendla covers (most likely to avoid having more understudies in performances).  Here she sings, "Mama Who Bore Me."



Some pairs Wendla/Melchior pairings just ooze chemistry.  Eryn Murman and Jesse Swenson sing Spring Awakening's "The Word of Your Body."


Laura Bell Bundy has played many of the best soprano leading lady roles on Broadway right now, having appeared as Amber Von Tussle in Hairspray, Elle Woods in Legally Blonde, and Galinda in Wicked.  Bundy understudied Kristin Chenoweth and was expected to take over after Chenoweth's departure.  Should she have?  Listen to "Popular" and decide.

Broadway Madlibs is one of my favorite finds.  John Lloyd Young plays along, with a Madlib version of Jersey Boys' "Can't Take My Eyes Off Of You."  Listen for the Jamie Lynn Spears reference.

For Bailey Hanks fans

...has your southern belle prevailed?

Listen for youself...

So Much Better Single from Amazon

For Autumn Hurlburt fans

Autumn Hurlbert in Little Women: "Some Things Are Meant to Be"

Rumor Has It...

Cortney Wolfson (of the web series The Battery's Down) and Lauren Zakrin (of MTV Elle fame) will be in the Legally Blonde tour.  Wolfson will appear as Serena and Lauren will be in the ensemble and will understudy Margot and Elle.

Whoopi is coming to Xanadu as a muse!  What genius casting! I wonder if this will become a trend.  I would love to see someone like Jennifer Coolidge appear as a muse.

And finally...Raul Esparza is returning to Broadway in the Speed the Plow revival.

The Search for Elle Woods, Episode 6

Hi there, readers; I apologize for the delay on this post (and all others after it for awhile). This was my first week back at school; I'm studying abroad in Europe this semester, and to prepare for the travel ahead, I have a three week class sequence to take. Needless to say, my days have been hopelessly devoted to church history, western civilization, and architectural design...there has been little time to write and update. 

This week's episode was a little uncomfortable to watch; with only five girls left, there's a heightened level of intensity; every audition means more, every girl's performance in the workshop exercise is even more scrutinized, and the stress is taking a toll on the contestants. This week, both Autumn and Natalie went blonde, evening the playing field, and the girls were tested to see which girl could set herself apart and exhibit both her "inner and outer Elle." The girls sang the "Legally Blonde" ballad with Andy Karl....so whose name was on the list? Who was sent packing?

Autumn admitted that she was not a fan of her blonde hair, and I  have to admit--neither am I.   Because she is a little on the pale side, I think she would be better off with a more strawberry blonde color; this blonde washes her out too much.  After a rough few weeks, Autumn needed to excel this week.  Not only was her publicity shot inventive and fun, but her "Legally Blonde" audition was by far the strongest of all the girls'.  She really evoked Elle's utter devastation and disappointment.  I hope producers choose her; if not, I at least take comfort that, as the most talented of the bunch, this opportunity will open many doors for her.

What a shocker! Bailey copied Laura Bell's pose!  I never expected that at all...I have never been a fan of Bailey's, and this week certainly did not make a convert out of me.  Bailey did not connect to the material at all this week; her performance lacked sincerity, vulnerability and believability and I feel like she spent more time crying about the inch cut off of her hair than she did thinking about the motivations and emotions she should be portraying.

Lauren gave the second best performance this week.  I absolutely loved her singing (her slide during the word "drive"--wonderful--like candy for the ears!) and am extremely excited to see her perform "What You Want" next week.  However, I think her age will ultimately work against her.  I doubt producers will give someone so young the role of Elle; anchoring a show is an extremely large task for an eighteen year old, plus she looks extremely young (even next to Andy Karl who looks younger than Christian Borle).

Natalie won the challenge this week, and I am not sure why.  There is nothing particularly innovative about a short girl standing on top of a few books, but okay then...I have been a fan of Natalie's since the beginning, and though I knew she was not right for Elle, I was upset to see her sent home this week.  She clearly had a much stronger voice than Rhiannon, and on principle, that should have earned her another week to stay.  But alas, Natalie was sent back to the sun, back to the shore, back to who she was before.  However, I am hoping to see her show up in something...perhaps Penny in Hairspray?

Oh, Rhiannon.  First, you say that Emma should have stayed over Autumn, and then you give poor performances in both the photo challenge and the audition.  As huggable and adorable as I normally find you, you were not my favorite person this week.

Rhiannon's audition this week was the weakest by far, and there is absolutely no way she'll make it past next week.  She does have an interesting personality, but that can only go so far.  She is not ready yet; there is absolutely no way she is capable of handling the material and belting out the score eight times a week.  I felt myself cringing during her belting (so many poor notes!) and realized that she plays Elle very young...and very dumb.  Rhiannon and Bailey emphasize Elle's ditzy side more while Autumn and Lauren attempt to emphasize that she's actually intelligent.  I said this earlier, and I'll say it again--Rhiannon is better suited to Margot.

"Who Loves You, Pretty Baby..."

...Not Me.


Date of performance: May 21 evening

Book by Marshall Brickman and Rick Elice; music by Bob Gaudio; lyrics by Bob Crewe, based on the story of Frankie Valli and the Four Seasons. Directed by Des McAnuff

Starring: Michael Longoria (Frankie Valli), Christian Hoff (Tommy DeVito), Sebastian Arcelus (Bob Gaudio), J. Robert Spencer (Nick Massi), Donnie Kehr (u, Bob Crewe), Mark Lotito (Gyp DeCarlo), Bridget Berger (Mary Delgado), Travis Cloer (Joey), Heather Ferguson (Lorraine), and Sara Schmidt (Francine)


In 2006, Jersey Boys won four Tonys. The show is consistently soldout and it boasts the highest priced tickets on Broadway.

Given these facts, I had high expectations.
Maybe that was my mistake.
Maybe I'm too young.  I am not "of the generation that truly appreciates this music."

Whatever the reason, I found Jersey Boys to be one of the most overrated, poorly written things I have seen in a long time. I'll admit, the music is wonderful--it's the Four Seasons, after all, but the show is really just a glorified concert. The book is incredibly weak; the show is simplistically divided into four sections, or seasons, and one member of the band narrates each portion. This narration seemed like more of a cheap shortcut to get us from Point A to Point B. Unlike the other big jukebox musical Mamma Mia, which uses ABBA songs to create an entirely new story, Jersey Boys uses Four Seasons songs to accent the retelling of the rise of the boys from the "old neighborhood." The script, which feels more like a sketch, employs many cliches, and a large part of the script is simply laughable. It's to the actors' credit that some lines like, "The first time the four of us made that sound...our sound, when everything dropped away and there was was the music...that was the best. That's why I'm still out there singing, like that bunny on T.V. with the battery, I just keep goin and goin" don't sound completely foolish. There's a lack of dramatic urgency, but the closing monologues somehow tie the show together. The book and the score don't really complement each other until Act Two. In Act One, a great deal of the music is thrown in there just so more of the Four Seasons catalogue can be represented whereas in Act Two, the music reflects and enhances the plot.

However, it wasn't just the book I found fault with. The scenic design is uninspired, and the female members of the ensemble are sloppy. Granted, the female roles in Jersey Boys are small, but the women make no effort to be memorable and in the numbers where they all dance together, they don't display good technique nor do they synchronize their movements.

So beyond the music, what DID I like about Jersey Boys?

Perhaps the most important thing...the boys themselves. It takes especially charismatic, passionate, talented performers to portray real life figures and the four lead actors in this production do not disappoint. Michael Longoria, Sebastian Arcelus, Christian Hoff, and J. Robert Spencer go beyond mere imitations; they manage to subtly create three dimensional characters. Michael Longoria, who is onstage almost the entire time, oozes with charm, J. Robert Spencer's Nick is captivating, remaining passive throughout the majority of the show until finally unleashing anger and frustration, Sebastian Arcelus crafts a level headed Bob who cares as much about music as he does about integrity, and Christian Hoff, who won a Tony for his portrayal as the brash Tony DeVito, steals scenes.


Though I didn't love this show, I loved these performances...and I also loved sitting in a theater surrounded by people from Jersey. Go see the show in New York...you'll understand what I mean.

Search for Elle Woods, Episode 5

Yes, dancing in stiletto pink boots on cobblestones in Brooklyn will TOTES help you be a better Elle! For real.

This week, the girls were challenged to learn the "Positive" dance sequence. The winner of the dance challenge, Natalie, got to take a yoga class with Kate Shindle. The judges then challenged the girls to rate who the worst actor, dancer, singer. Autumn, in true Elle fashion, turned it around, and put a positive spin on the judges' questions. The girls no longer rated who they thought was the worst actor or worst singer. Instead, they voted and discussed who the best actor was, who the most improved singer was, and so forth.

Autumn landed in the bottom two again this week, and again I didn't think she deserved to be there (though I admit that when it comes to her, I may not be the best judge). MTV also edited the show to make it look like she threw up from nervousness, when in reality, she had food poisoning from yogurt.
Bailey, as much as I hate to say it, really "worked it" this week. She commands attention when she dances, she stands out, and she made good use of her hair. I'm betting she'll make it to the Elle finals.
Emma "didn't make the list" this week, and I'm honestly not surprised. She continued to blame her problems on her bronchitis (there should be a drinking game where every time she says bronchitis, you take a shot). I suspect bronchitis may have contributed to her struggling, but the reality is she had trouble with her singing before bronchitis and she admitted she was a weak dancer in the first episode. I honestly didn't think she was very good, but I do feel sympathy for her--it must be incredibly hard to live in the shadow of her famous director father.
Lauren has a lot of raw talent and an interesting presence. She's not the thinnest or most attractive girl there nor is she the most experienced, but there is something about her that is magnetic. She's interesting to watch, and I grow to appreciate her more every week.
I said Natalie lacked charisma last week, and after this most recent performance, I sincerely apologize and retract my statement. She really turned on the charm this week.
Rhiannon, like I suspected, struggled a little this week. I actually think she did better in rehearsal than she did in the audition, which is frustrating and unfortunate.

Next week, the girls take on the "Legally Blonde" ballad and are going to work with Andy Karl as Emmett. I predict that Autumn and Lauren will excel and that Bailey and Rhiannon will be the ones to go to the casting office.

Hamlet 2: I Am Simultaneously Horrified and Fascinated

Starring Steve Coogan, Catherine Keener, Elizabeth Shue, Amy Poehler, David Arquette, and featuring Skylar Astin and Phoebe Strole

Official trailer


Check out: Rock Me, Sexy Jesus

"They Walk With My Heart, Not Gone"

Date of Performance: May 18 evening

By: Duncan Shiek (music), Steven Sater (book, lyrics), Michael Mayer (direction)

Starring: Jonathan Groff (Melchior), Lea Michele (Wendla), Blake Bashoff (Moritz), Emma Hunton (Ilse), Lilli Cooper (Martha), Phoebe Strole (Anna), Remy Zaken (Thea), Brian Charles Johnson (Otto), Matt Doyle (Hanschen), Skylar Astin (Georg), Blake Daniel (Ernst), Glenn Fleshler (Adult men), Christine Estabrook (Adult women), Gerard Canonico (ensemble), Eryn Murman, Matt Shingledecker, and Jenna Ushkowitz




What I have always loved about theatre is its intimacy and its power to connect people. There's something incredibly special that happens within the walls of a theater---people experience and process this singular, once in a lifetime event together. No performance is the same, no audience is the same, and if you're lucky, when the show is over, the people leaving the theater are not the same either.

Theatre allows, nay, demands that audiences connect with each other and with the performers. On May 18, I witnessed one of the most electrifying, emotionally charged performances of my life. Best friends Jonathan Groff and Lea Michele, who created the roles of Melchior and Wendla in Spring Awakening, performed for the last time. Whenever an original cast member leaves, fans tend to rally and casts cry, but SA is a huge youth hit with a cultlike following. Groff and Michele are beloved by their fanbase and by their fellow actors and technicians. It's a credit not only to the show, but also to Groff and Michele's influence, that so many fans flocked to their last show and that many of SA's creators and alumni attended--Duncan Sheik was crying in the standing room only section with John Gallagher Jr., Steven Sater and Michael Mayer returned, and cast alumni Lauren Pritchard, Johnny B. Wright, Krysta Rodriguez, and Robi Hager were also in attendance. To say that the audience turnout that evening was excited and eager would be an understatement. The majority of the people there were repeat "guilty ones" and devoted fans; it wasn't just New York regulars--many people had made special arrangements to be there--by plane, train, automobile. Even I am guilty of this--I planned my vacation around attending this show.


The show started a little late (Bashoff apparently had an awful nosebleed because he had been crying so much and there was a concern that he would not be able to perform) and as soon as Lea walked onstage for "Mama Who Bore Me" there was an eruption of applause--so much so, in fact, that she couldn't start her song for several minutes. This was my first time seeing her in the role and it was remarkable how much her Wendla differed from Alexandra Socha's (I saw Socha in October, and she has now officially taken over as Wendla). Socha's Wendla interpretation came off childlike, innocent and vulnerable, and her sex scene with Melchior seemed closer to rape (and more in line with Wedekind's original text). Michele's Wendla was innocent, but Michele tapped into Wendla's strength and her sexual desires. Socha's interpretation of Wendla is interesting, but Michele's is a better match for Groff's Melchior; it's easier to understand why Melchior is attracted to Michele's Wendla. Close friends and self proclaimed "soul mates" Groff and Michele have amazing chemistry, but this also works against them; there's less of an awkwardness between their Wendla and Melchior, especially in the hayloft scene when their characters have sex for the first time. Michele's voice is wonderful, incredibly rich, and she has an impressive range; while Socha's acting is a match for Michele's, there is no contest--Michele's vocals are stronger by far (and she can sing clearly and beautifully while crying which is impressive).

If you like "Mama Who Bore Me: Reprise," you really need to see the show live. The song on the cast recording features only a three part harmony. The song in the stage show has a five part harmony, and the accompaniment is great to listen to (the acoustics in the Eugene O'Neill are ridiculously good). When Phoebe handed Lea her microphone, they shared a smile, knowing it was the last time they would be doing that handoff and at the end of "Mama Who Bore Me: Reprise," there was so much applause that Lea struggled to maintain her composure.

This was my first time to see several of the actors in the Latin Classroom scene. When I saw the show in October, Brian Charles Johnson was understudying Moritz, Skylar Astin was out filming Hamlet 2, Matt Doyle was still swinging (and went on as Otto), and Blake Bashoff had yet to join the cast. Bashoff's Moritz is quite different from John Gallagher Jr.'s and Brian Charles Johnson's--his portrayal is infused with humor, and his body moves with both awkwardness and nervousness. Brian Charles Johnson's voice is scratchy and sounds like it's strained and in poor condition now. Skylar Astin is sorely underused--his riffs during his "Touch Me" solo are beautiful, and his scenes with the piano teacher are humorous, but beyond that, he unfortunately does not have a lot to do, and at certain points, you can sense his boredom. Matt Doyle's take on Hanschen has a different focus than Johnny B. Wright's. Doyle's Hanschen seems more entitled and worldly than Wright's and while I think Doyle does a fantastic job, I wish he had been promoted to Melchior instead. I'd argue he has the best male voice in the show, and his Melchior interpretation, for me, is stronger than his Hanschen.

I was fascinated by Emma Hunton's Ilse, and after seeing her, I wish I could somehow meld Hunton and original cast member Lauren Pritchard together. Before seeing Hunton I felt that Pritchard's throaty vocals and long, flowing hair would always be the definitive interpretation of Ilse. While I think Pritchard has an ethereal quality that is absolutely ideal for Ilse, Hunton brings an innocence to Ilse that was not there before. Pritchard emphasized Ilse's adult lifestyle and her wistfulness for a return to her childhood days while Hunton plays Ilse as a young girl caught up in an adult world and desperately reaching out for connection; Hunton's Ilse is wounded and her pain slowly rises to the surface; Hunton and Bashoff's scene together, "Don't Do Sadness/Blue Wind" is heartbreaking, moving, and intensely frustrating; they craft two characters that so clearly need someone to reach out to them and it's devastating when they cannot bridge the gap and forge a support system for each other.

Throughout the entire show, there were many reminders that this was Michele and Groff's last show. Cast members were crying in the wings, Michele and Groff got entrance applause every time they came onstage, Bashoff bowed to Groff, Michele clutched Lilli Cooper's hand, and Groff cried during "Those You've Known." However, nothing can compare to "Totally Fucked." I'll post a video of it, but the video cannot even come close to describing what it was like inside the theater. At every show, "Totally Fucked" is a big fan favorite, but at this particular performance, the audience's expectation and excitement for this number was palpable. Groff had a glint in his eye as he began the number (similar to the expression he had when SA performed on Good Morning America and replaced "fucked" with "stuck" to remain television appropriate). People in the audience immediately reacted with applause. There was an amusing interplay between Johnson and Groff during Johnson's verse, and things completely erupted when Glenn Fleshler said, "For the last time, did you write this?" There was a long beat, Groff looked to the audience and screamed, "YESSS!!" The entire audience was pounding their feet and singing along and Michele let out a primal scream and held Blake Daniel's hand as she jumped around for the last time. There was a very long standing ovation (perhaps five minutes?) and the cast's reactions ranged from amused (Remy and Phoebe were laughing and Doyle struggled to remain stoic and not break character) to touched (Michele sobbed during the entire ovation--which was slightly entertaining since she was giving the audience the finger--and Groff, sitting on his stoop above the stage, broke character, and clutched his hand to his chest, obviously surprised and grateful).

Sitting there, I felt lucky and honored to be there, but more than that, I felt alive. There I was, sitting in a theater, surrounded by people from all over the country, but we were sharing this once in a lifetime experience together. We all identified with and loved this show and we were celebrating not only Michele and Groff's last performance, but also life in general. Spring Awakening is not just an angst filled teenage musical; it celebrates the human experience, acknowledging the pain and confusion we suffer, the desires and romances that fuel and change our lives, and the battles we fight, but it also acknowledges what helps us get through---purple summer, a beacon of hope in the darkness. I sat listening to "Those You've Known" and "The Song of Purple Summer," and I thought of the figures who have changed my life, and I recalled my loneliness and my darkest times and realized how far I had come.

Summer is dawning...and I believe.