All Shall Know the Wonder

Allie Trimm...

2009-05-27T22:19:00.000-07:00

...as Kim in Birdie?

O......kay.

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

Oh, Patti

2009-01-26T13:39:00.000-08:00

2009-01-25T18:27:00.000-08:00

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.

2009-01-25T18:25:00.000-08:00

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

2009-01-09T14:36:00.000-08:00

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

2009-01-07T00:11:00.001-08:00

This

"Holy Macaroni"

2009-01-06T22:53:00.000-08:00

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

"Goodbye to Sandra Dee"

2009-01-06T22:30:00.000-08:00

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"

2009-01-04T00:00:00.001-08:00

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

2009-01-02T23:49:00.001-08:00

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

2008-12-31T23:50:00.000-08:00

Haven Burton favorites:

"Take Me or Leave Me" Rent

Legally Blonde

Here She Is, Miss America

2008-12-31T19:27:00.000-08:00

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

2008-12-27T23:42:00.000-08:00

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

2008-12-27T23:40:00.000-08:00

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.

2008-12-14T16:47:00.000-08:00

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

"Something Good"

2008-12-05T20:27:00.001-08:00

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

2008-12-05T20:21:00.000-08:00

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

Dance: Ten, Looks: Ten

2008-11-22T20:00:00.001-08:00

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

2008-11-20T10:01:00.000-08:00

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

2008-11-17T23:41:00.000-08:00

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"

2008-11-04T06:24:00.001-08:00

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

2008-09-09T09:42:00.001-07:00

Behold!

Could [You] Get Used To This?

2008-08-12T07:56:00.000-07:00

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

2008-08-11T08:45:00.000-07:00

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

2008-07-23T20:37:00.001-07:00

Hell to the No

Our Bodies Are the "Guilty Ones"

2008-07-23T11:14:00.000-07:00

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"

2008-07-22T10:55:00.000-07:00

...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"

2008-07-21T17:46:00.000-07:00

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"

2008-07-21T17:25:00.001-07:00

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..."

2008-07-20T09:47:00.000-07:00

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

2008-07-19T20:49:00.000-07:00

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

2008-07-19T16:54:00.000-07:00

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"

2008-07-17T15:50:00.001-07:00

Aubrey O'Day in Hairspray.

Variety Show: Vids

2008-07-15T11:46:00.000-07:00

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

2008-07-15T10:43:00.000-07:00

...has your southern belle prevailed?

Listen for youself...

So Much Better Single from Amazon

For Autumn Hurlburt fans

2008-07-14T21:16:00.000-07:00

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

Rumor Has It...

2008-07-14T17:00:00.000-07:00

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

2008-07-11T21:44:00.000-07:00

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..."

2008-07-02T14:40:00.000-07:00

...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

2008-07-02T00:35:00.000-07:00

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

2008-07-02T00:30:00.000-07:00

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"

2008-07-01T00:08:00.000-07:00

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.

Joey Potter Graduates to Broadway

2008-06-29T11:36:00.001-07:00

Katie Holmes is coming to Broadway; she is set to star with Tony winner John Lithgow, Oscar winner Dianne Wiest, and respected stage actor Patrick Wilson in a revival of Arthur Miller's Tony winning play, All My Sons.

Has no one caught on that she can't really act? (see Mad Money, Abandon, Batman Begins for examples.)

Oy.

Well, I must admit; I'd almost buy a ticket just for the chance of seeing Tom Cruise act like a lunatic.

Kerrigan and Lowdermilk

2008-06-27T00:09:00.000-07:00

Kait Kerrigan and Brian Lowdermilk are two of the most talented composers I have heard in a very long time. Tales from the Bad Years, which is primarily centered on the challenges and joys of being in your twenties, is sharp, sensitive, funny, and incredibly relevant. I have not fallen so desperately in love like this with music in a very long time. I hope you'll enjoy these selections.

"Anonymous Sex" with Phoebe Strole and Skylar Astin

"Not a Love Story" Phoebe Strole

"Run Away With Me" Michael Arden (this is technically from The Unauthorized Biography of Samantha Brown Arden gave a special performance at the Tales concert)

Side note: Michael Arden is wonderful.

"How to Return Home" Laura Osnes

Side note: Imagine what Osnes could be capable of if given great material like this!

"Not Her Way" Kate Shindle

Side note: Check out Kate Shindle's blog

"My Life is Over" Brynn O'Malley

"Party Worth Crashing" Kate Shindle, Brynn O'Malley, and Kait Kerrigan

The Search for Elle Woods, Episode 4

2008-06-26T01:06:00.000-07:00

I never fail to be entertained by the challenges producers continue to throw at the contestants on this show. This week, the girls were tested on their ability to bond with their chihuahua costars. While I understand the importance of having an Elle that works well with the dog playing Bruiser, I'm not sure that a girl's ability to channel the "Dog Whisperer" should factor that heavily into casting directors' evaluation of her potential at this point in the audition process...but maybe that's just me. However, the challenge this week did allow for lots of girly screaming and plenty of shots of cute dogs. Cassie S frightened the dogs, Bailey called her dog stupid (major no no), and Autumn won the challenge and had the opportunity to meet Richard H. Blake, giving her (in theory) a leg up on the audition scene for this week, "Serious."
Now on to the performances...
I will agree with the judges that Autumn's performance was not her best, but I will argue that it certainly did not warrant a place on the chopping block. Though it does seem unfair, I suspect that they wanted to scare her a little or make an example of her. Beyond that, I can't understand why they would criticize her so much, when, even at her worst, she still performed better than many of the girls there.
Though she has outstanding vocals, I'm still not a Bailey fan, and especially after this week, I'm exhausted by her Laura Bell Bundy impersonation. There's nothing new about this portrayal; I've seen it before, and while Broadway replacements have the difficult task of honoring the performer(s) that came before them, they should also bring something different to to the role--Bailey does not. Her Elle is too cookie cutter, too precise. However, given that casting director Bernie kisses the ground she walks on, she has a very good chance of winning.
Ding Dong, Cassie S is gone, and my did she go out with a bang. Her "Serious" was pretty painful to listen to and to watch--the girl really needs to take some acting and singing lessons. She came off very young, very whiny, and not very sympathetic. You're almost glad when Warner dumps her. Cassie was shocked when she was called into the casting office, and seemed genuinely confident that she had done a great job. However, her cluelessness was not what made me cringe the most. The judges explained that she could be a great swing etc., and she completely rejected the idea, explaining that she wanted to be a STAR. Bad call, Cassie. The majority of people working on Broadway are ensemble members or swings, and one of the judges in front of you (Paul Canaan) is one in Legally Blonde. When Cassie finally got the boot, she proceeded to rant that she didn't deserve to be cut. Face it, Cassie--you are neither awesome blossom nor fabulous fantastic. Good riddance!
Celina was the other girl to get the boot. While it was clear that she did not have an "Elle presence," this week I did somewhat understand why the casting directors kept around. She's actually a good actress and singer; she just wasn't right for this part...and really, I can't say anything bad about a girl who told off Cassie S.
Though she was suffering from bronchitis, Emma showed marked improvement this week (ie: no more mean Elle) in her scene with Richard. Her acting was better, and so was her singing, but the girl still has trouble belting, and there's just no way that a girl that struggles with belting is going to be Elle.
I may have to jump on the Lauren bandwagon here; she was by far my favorite this week (though I would have appreciated seeing a little less of her cleavage, ahem). She's got a really strong belt, and while she made a few choices and a few inflections I didn't agree with, she was interesting to watch; she was warm and Elle seemed more three dimensional and more relatable compared to how other girls have portrayed her. Plus, she had really good chemistry with Richard (just like she did with Nikki...good sign. Side note: Lauren fans can breathe this coming week; judging from the promo run at the beginning of the series, she'll definitely be around for the "What You Want" audition scene, which isn't next week.)
I like Natalie, but as I thought about the episode, I actually forgot about her and wouldn't have remembered her if I hadn't looked back at the full audition scenes online. I think she really just needs to take it to the next level (as Tyra Banks would say). If she gets eliminated, I think it will be because she's not charismatic enough, not because she doesn't have the talent.
And finally...Rhiannon. I don't know why, but I really like her (as my best friend Kate explained, "She just looks like she'd be so cool to be friends with"). Of all the girls this week, she had, by far, the best comedic timing. However, she's not the strongest singer, which could cause her problems.

Next week's episode is making me a little nervous. It's centered on dancing, and something tells me Emma, Autumn, and Rhiannon could struggle...and if Autumn goes, this will be one unhappy musical theatre junkie. Additionally, the challenge next week looks horrendous. Who's the worst dancer? singer? actor? Who needs to lose weight? How very un Elle Woods of them! Isn't the Broadway show supposed to be praising girl power, confidence, and friendship? No snaps for you.

And the stunt casting continues...

2008-06-25T13:24:00.000-07:00

Much to my chagrin, it has been reported that Aubrey O'Day from Puff Daddy's (P. Diddy, Sean Combs, Diddy...what is he calling himself now?) Making the Band group Danity Kane will join Hairspray, taking over for Ashley Spencer as Amber. Are you all familiar with Aubrey?

Here's hoping she looks more like this...

than this...

There are so many talented actresses on Broadway and plenty hoping for their big break, and it is such a disappointment that the Hairspray producers would choose to hand over the role to the slutty lead singer of a subpar girl group. I look at the actresses who have taken on the role of Amber--Laura Bell Bundy, Tracy Jai Edwards, Becky Gulsvig, Brynn O'Malley--and I just don't see how Aubrey fits in.

In other casting news, the stunt casting at Spamalot continues. Stephen Collins, best known for his role as Reverend Camden on the uber wholesome family drama 7th Heaven, will join the cast as King Arthur and Drew Lachey of 98 Degrees and Dancing with the Stars will appear as Patsy. As skeptical as I am about this casting, I must give Lachey credit. He has managed to parlay his Dancing with the Stars win a few years ago into a lucrative career.

"Summer Lovin"

2008-06-25T01:10:00.000-07:00

This summer, the Grease revival will welcome You're the One That I Want runner up (and current Amber in Hairspray) Ashley Spencer and fellow show finalist Derek Keeling (most recently of the Broadway tryout cast of Tale of Two Cities) as the new Sandy and Danny. The two actors will join a company which also includes American Idol Taylor Hicks as the Teen Angel.

For interested parties, curtain call from Taylor Hicks' debut performance as the Teen Angel and other opening night festivities

Appearance on Regis and Kelly

"Conventionality Belongs to Yesterday"

2008-06-22T14:11:00.000-07:00

The cast of Spring Awakening spoofs the cast of that other youth oriented hit Grease (and themselves) at the Easter Bonnet competition.

Search for Elle Woods, Episode 3

2008-06-19T10:06:00.000-07:00

Before we get started, I must profess my undying love and devotion to Seth Rudetsky. A writer, actor, vocal coach, and radio host, his appearance on this show is like a shining beacon of sanity (and his video blogs after each episode are genius). If you're not familiar with who he is, look up some of his stuff; you won't be sorry.

Moving right along....Tonight the girls tried their hand at Blonde's opening number "Omigod, You Guys." This song is one of the most addictive in the entire score and sets the tone for how the audience feels about Elle. If you can't hook them by the end of this number, you're never going to. The audience has to adore Elle, and recognize both her sweetness and her strength in this number. So, were the contestants up to the task? The verdict is in...

Autumn again proved to be one of the strongest in the bunch. She flubbed one of the opening lyrics, but managed to cover it up without flinching. Her acting is subtle and thought out; she makes good choices, but what about Legally Blonde is subtle? She may need to vamp it up a little. (Side note: Autumn is now sporting blonde curls; judging from that and several of her comments on her fan page, I'm guessing she's the winner).
Bailey is good and her "Omigod" song and book scene were solid. I will give her that much. She's more consistent than most of the girls, but for some reason, the more I see her, the less I like her. For me, there's a lack of sincerity there.
Cassie S continues to make herself even more polarizing (and given MTV's edit of the show, I'd bet money that she's not going to win; MTV will be careful to only show the winner in a positive or sympathetic light--the target audience for LB is young girls and their parents, and with that kind of audience, you can't boost ticket sales when you're leading lady is known to be a raging diva; parents will buy tickets to see a young lady their daughters can look up to and respect, and Cassie S's antics thusfar take her out of the running). Cassie S did improve from last week; but that's not saying a lot. Her voice is still a little on the shrill side and I can't stand the scrunched up faces she makes (check out Bailey's audition for a good example).
The appeal of Spam, what Bob Dylan says, how to balance a chemical equation...Celina joins this list of things I don't understand. I still am wondering why she's there, when audition after audition, she fails to show anything akin to an "Elle Woods presence." She came off a little mocking and extremely out of place.
Emma showed improvement this week vocally, but the judges were right: she comes off mean, and Elle Woods can be interpreted in many ways, but mean is not an adjective that describes her. Here, she comes off as just a bitchy sorority girl--not exactly someone we want to root for.
Lauren has a bit of a battle ahead of her. She clearly does not look like a college graduate, and her face tends to look a little scowly. I don't think she's mean, I just think, unlike Bailey who always looks wide eyed and giddy, Lauren's face tends to be more serious. Her acting and belting were good, but it all didn't come together this week. (Side note: Rumor has it that Lauren does not get the role of Elle, but she does get cast on the tour. Though she may not work as Elle, she may be a very good swing or Delta Nu.)
Lindsey, Lindsey, Lindsey. Lindsey got the boot this week, and to be perfectly honest, I was not the least bit surprised. Her voice was too low for the song and she struggled with the lyrics throughout the entire episode. (Honey, if this is your dream role, you need to know the words; I understand flubs happen, but when you clearly are clueless about the lyrics, something's wrong. I know all the lyrics to the song, and I'm not auditioning on national television.)
Natalie was lovely this week, and while in the long run, she may not end up being the best girl for Elle, she would make a great Delta Nu, or a hilarious Margot or Serena.
Though ridiculously likable, Rhiannon doesn't work for Elle in my opinion. Her vocals aren't as strong as they need to be, but her acting is very interesting and even more impressive to me, she put an incredible amount of energy into all of the girls' auditions when they had to sing back up. Cast her as a Delta Nu. As Margot, she'd be genius.

Becky Gulsvig to "Bend and Snap" as Elle in the Legally Blonde National Tour

2008-06-16T20:11:00.000-07:00

Having appeared as Amber in Hairspray, performed as a Deltu Nu sorority girl, and understudied the roles of Serena, Margot, and Elle in Legally Blonde, Gulsvig has proven herself to be a versatile and valuable performer. The vocally excellent Gulsvig has been tapped to lead the national touring company as Elle Woods, the sorority girl with a heart of gold. Her energy is quite different from Bundy's, and her Elle comes off as more intellectual and serious, but Broadway Blonde fans swear by her.

Here's some videos to help you decide if she's "What You Want":

Becky Gulsvig and Laura Bell Bundy go through blocking with director Jerry Mitchell.

"Tony Tony, There's Only You Tonight"

2008-06-16T19:04:00.000-07:00

The 62nd Tony Awards held last night and broadcast on CBS garnered their lowest ratings ever. I honestly don't understand why or how. Held in the magnificent Radio City Music Hall, this year's telecast featured the traditional performances by the nominees for best new musical and best revival, but also included small excerpts from the other new musicals that opened this season, special performances by the cast of Rent (past and present) and the Lion King company, and Whoopi Goldberg in short parodies of past Tony winners. Millions of people flock to Broadway every year, and here is a perfect opportunity for Broadway to come to the people, and viewers are not tuning in. It breaks my heart, and worries me that the Tonys' days of being broadcast on national television are numbered.

All in all, despite the low ratings, I found it to be a fun night, and an appropriate representation of the strong season. I did a very good job predicting the winners (Best Actor in a Play, Choreography, Featured Actor in a Play, and Orchestrations threw me off).

Highlights (and Lowlights):

Lows
Mark Rylance's speech, which was actually an excerpt of prose Say What?
Xanadu's performance; Xanadu is off kilter and campy, and its performance only hinted at the humor and silliness of the show
A Catered Affair performance came off stiff, slow, and boring--not a great way to sell tickets
The Rent tribute; nice idea, but came off more like a speech than a performance 525, 600 Minutes
Gabriel Byrne's appearance; could he at least try to show some enthusiasm?
Stephen Sondheim didn't show up to accept his lifetime achievement award. Really?

Highs:
Mary McCormach's bewildered look during costar Mark Rylance's acceptance speech
Laura Benanti's emotional, warm speech; I get annoyed when people go up there and give generic, emotionless thank yous. You won a Tony, dammit; show some passion--you're in theatre for goodness sakes!
Lin-Manuel Miranda's rapped acceptance speech and shout out to Stephen Sondheim and his performance with the In the Heights company 96,000 and acceptance speech
"Everything's Coming Up Roses" performance; you don't get a a standing ovation at the Tonys for nothing I Dreamed It For You, Baby
Richard Griffith's silly Harry Potter joke
Julie White and Michael Cerveris' presentation of the creative awards before the telecast
Daniel Evans singing along during "Seasons of Love"
Anna Shapiro and Tracy Letts' speeches; while Shapiro's was poignant and emotional, Letts' was sharp and witty, but both were incredibly memorable
Loved Paolo Szot's comment that he loved playing a man who "opposed war and fought for love"

Search for Elle Woods, Episodes 1 and 2

2008-06-15T10:08:00.000-07:00

Omigod, you guys...they're totally ripping off the Grease reality show and searching for Laura Bell Bundy's replacement! This show is just as silly and ridiculous as I expected, and watching the contestants, I can't help but feel sorry for Laura Bell Bundy for knowing that her replacement is being chosen in such a ridiculous fashion and wonder what Annaleigh Ashford and Becky Gulsvig, two Elle understudies who were more than deserving of taking over the role, think. However, Jerry Mitchell and the producers-that-be decided to go in a different direction; Annaleigh is now in Chicago doing Wicked and Becky is primed to launch the Legally Blonde tour. Where does that leave the Broadway company? Is one of these women actually capable of carrying a show, performing 8 times a week, and appearing onstage for around 90% of the show's length?

Exhibit A: Annaleigh Ashford "So Much Better"
Exhibit B: Becky Gulsvig Act One Highlights

The premiere was contrived; Host Haylie Duff made several references to her Broadway debut as Amber in Hairspray--how hard she worked, the frustrations of the audition process, the long hours. Clearly, no one told her:
1. Her talent didn't get her the role. Her last name did.
2. She was one of the worst received Ambers.
3. It is not necessary to refer to oneself again and again; we get it--you were on Broadway. Next, please?

As calculated and scripted as this show seems to be, I must at least applaud the producers for including acting and dance auditions in this show; all potential Elles are forced to undergo workshops in fitness, vocal performance, acting scenes, and dance sequences, whereas the Grease contestants only "sang" for their supper.

Instead of doing a traditional recap of the episodes, I think I'm going to focus more on the contestants. So here we go:
Autumn is by far my favorite in the running right now. Her "So Much Better" audition in the first episode was strong, and just as importantly, it was different--she clearly wasn't trying to channel Laura Bell Bundy's Elle and I appreciate that she was presenting her own interpretation. Her acting audition with Nikki Snelson was inspired. While I could have done without her dropping on the floor in relief when the judges told her that Nikki had dropped a line to test her, I still applaud her performance. Autumn is also a member of AEA and earned raves for her turn as Beth in the first Little Women national tour, so she definitely has some credibility as a performer. She may be a redhead, but she might be the perfect girl to go Blonde.

Judging from several internet polls, Bailey seems to be the fan favorite. A wholesome, Southern gal and pastor's daughter, she comes across as incredibly likeable and warm, had impressive chemistry with Nikki, and her interpretation of Elle is much closer to Bundy's than Autumn's. She is surprisingly adept at hiding her heavy Southern accent and when dancing in large groups, even in a sea of blondes, she somehow stands out. However, I worry that her Elle, while relatable, is not very realistic. Could her Elle really rise to the top of the class at Harvard? Would we really believe that her Elle was intelligent, or would she just seem incredibly lucky?

Cassie O. has gone home, having been eliminated in the second episode. In the first episode, she lost some points with me when she explained that she "just loved the sound that comes out of her mouth." It came off very narcissistic, but she redeemed herself when she talked about how she loves to talk with a dorky lisp. Her "So Much Better" audition was one of the strongest, and her acting during that song showed potential. It's unfortunate that her acting in the scene with Nikki Snelson was so wooden, stilted, and awkward. She lacked a great deal of energy, she stumbled over her words, and she seemed quite confused. It was extremely disappointing given her vocal talent.

Cassie S. might be familiar to some of you as Brenda from Hairspray, the Nicest Kid in Town who was just a little too "fun lovin and freewheelin." As a dancer, she is stellar, but this also comes back to haunt her as she tends to fall into a pattern of standing in stances like fifth position during acting scenes, making her appear stiff and posey. Her singing, for me, is subpar, and unfortunately, no one has told her that her motto, "awesome blossom fabulous fantastic" is hideously annoying. She seems like too much of a diva, and I am NOT a fan.

Celina is a complete mystery to me for many reasons. I'm not sure why the judges chose her to be a finalist. She looks and acts nothing like Elle Woods, and her raw demeanor and scratchy voice would be much better suited for Elle's classmate Enid in the show. Celina also confuses me because she is one of the few contestants who actually has professional experience (appearances in 42nd Street, Cats, and Tarzan, to name a few). Given her background, I expected her to be more polished, professional, and more prepared. However, she did not handle the "dropped line" challenge well at all, and looked fidgety and uncomfortable as she struggled to improvise. She needs to go soon; I understand the judges want to mold her, but I think they're fighting a losing battle when it comes to her.

I look at Emma and I want to like her. Physically, she is ideal for the role. Her singing and acting are fine (though in her scene with Nikki, she did come off as a little aggressive), and she struggles a little with the dancing portion, but so far, she hasn't shown a "wow" factor. It also worries me that she is lauded theatre director Jerry Zaks' daughter--she must have had a lot of opportunities for lessons yet she is not an amazing performer. If it hasn't kicked in yet, will it ever? Still, I hope she surprises me. However, I will say that I think it is a little suspect that she did a show with actor-judge Paul Canaan, but both have neglected to mention this fact.

Lauren is the youngest of the bunch and her youth worried me at first. Despite her youthful appearance, she acts older and more mature in her scenes as Elle and comes off incredibly poised. While I did not necessarily agree with all of her acting choices, I did find her approach interesting. Her singing voice is also remarkably strong given her age and experience and it stands up against the more seasoned performers she's competing against. However, her "I'm not here to make friends" attitude could come back to haunt her and her youthful appearance could be a drawback in the theatre world, where casting directors tend to go for older performers.

Lindsey is stunning. Long, lean, and by far, the most striking of the girls, Lindsey is the first one that caught my attention. However, her acting scene with Nikki Snelson was an enormous disappointment. She came off disingenuous, she stumbled over words, she overacted, and she stood silently and awkwardly when Nikki dropped a line, and did not even attempt to cover the mistake and move on. If she had acting chops, I think she could be a serious contender; unfortunately, after this past week's workshop, I am concerned that she has a long, hard climb ahead of her if she ever wants to be the next Elle Woods.

Though she does not have conventional Elle Woods looks, Natalie's performances in the first two weeks have established her as a serious contender. Her "So Much Better" audition was the best of the bunch, and she belted the final note perfectly (several of the other girls' auditions were painful to listen to) and though she was thrown a little by Nikki's line drop, she managed to recover and improvise well. However, before the audition, she did get extremely emotional, which worries me. WIll she have what it takes to withstand the competition? Or will her emotions get the best of her?

Rhiannon is cute, quirky, and extremely likable. However, she found it hard to keep up with the choreography which is worrisome, and though her acting is good, she gives Elle Woods a goofiness that I don't think necessarily works. Elle has a mixture of sass, silliness, and poise. Rhiannon needs to tone down the silliness and up the poise.

It's the End of the Theatre Season and Time for...Tony Predictions

2008-06-13T13:49:00.001-07:00

Best Play
August: Osage County
Rock 'n' Roll
The Seafarer
The 39 Steps
Winner: August: Osage County
Spoiler: Rock 'n' Roll
Rock 'n' Roll is extremely deserving of the award, but it did close in March, and since then August has been on a roll, winning the Pulitzer Prize for Drama, the Drama Desk, and several other critics' awards. The compelling family drama is now the one to beat.

Best Musical
Cry-Baby
In The Heights
Passing Strange
Xanadu
Winner: In the Heights
Spoiler: Xanadu It has been well publicized that Heights is creator/star Lin-Manuel Miranda's labor of love. This knowledge, the show's graduation from Off Broadway and its sense of community make it incredibly endearing to voters. However, the campy, yet critically embraced Xanadu could steal the trophy (and the brilliant Cubby Bernstein campaign certainly helps). Side note: It personally breaks my heart a little that Cry Baby was even nominated. A Catered Affair was much more deserving.

Best Book of a Musical

Cry-Baby
Mark O'Donnell and Thomas Meehan
In The Heights
Quiara Alegría Hudes
Passing Strange
Stew
Xanadu
Douglas Carter Beane
Winner: Stew, Passing Strange
Spoiler: Douglas Carter Beane, Xanadu

Best Original Score (Music and/or Lyrics)
Cry-Baby
Music & Lyrics: David Javerbaum & Adam Schlesinger
In The Heights
Music & Lyrics: Lin-Manuel Miranda
The Little Mermaid
Music: Alan Menken
Lyrics: Howard Ashman and Glenn Slater
Passing Strange
Music: Stew and Heidi Rodewald
Lyrics: Stew
Winner: Lin-Manuel-Miranda, In the Heights
Spoiler: Stew, Passing Strange

Best Revival of a Play

Boeing-Boeing
The Homecoming
Les Liaisons Dangereuses
Macbeth
Winner: Boeing-Boeing
Spoiler: Macbeth

Best Revival of a Musical

Grease
Gypsy
Rodgers & Hammerstein's South Pacific
Sunday in the Park with George
Winner: South Pacific
Spoiler: Gypsy or Sunday in the Park with George; To be perfectly honest, Grease doesn't deserve to be in the company of these three. The other three revivals this season were absolutely stellar, and I'd go as far as to say that the revivals produced this season were far better than the original works that premiered. That said, this is South Pacific's to lose.

Best Performance by a Leading Actor in a Play
Ben Daniels, Les Liaisons Dangereuses
Laurence Fishburne, Thurgood
Mark Rylance, Boeing-Boeing
Rufus Sewell, Rock 'n' Roll
Patrick Stewart, Macbeth
Winner: Patrick Stewart, Macbeth
Spoiler: Mark Rylance, Boeing-Boeing This is a truly great set of male performers; while Rylance did not have the heaviest material to work with, he is central to Boeing's success, and I can see him taking home the trophy over Stewart's intense, passionate Macbeth portrayal.

Best Performance by a Leading Actress in a Play

Eve Best, The Homecoming
Deanna Dunagan, August: Osage County
Kate Fleetwood, Macbeth
S. Epatha Merkerson, Come Back, Little Sheba
Amy Morton, August: Osage County
Winner: Deanna Dunnagan, August: Osage County
Spoiler: Amy Morton, August: Osage County or S. Epatha Merkerson, Come Back, Little Sheba Dunnagan, as the matriarch from hell Violet, is the favorite, but I was absolutely floored by Morton's performance as Dunnagan's eldest daughter Barbara. Morton has a good chance of winning, especially since Dunagan is leaving the show two days after the Tonys, which voters may not be too keen on. Though Morton and Dunagan's performances complement each other in the show, they could work against each other in the voting process, splitting the vote and leading to a Merkerson victory.

Best Performance by a Leading Actor in a Musical
Daniel Evans, Sunday in the Park with George
Lin-Manuel Miranda, In The Heights
Stew, Passing Strange
Paulo Szot, Rodgers & Hammerstein's South Pacific
Tom Wopat, A Catered Affair
Winner: Paulo Szot, South Pacific
Spoiler: Lin-Manuel Miranda, In the Heights

Best Performance by a Leading Actress in a Musical
Kerry Butler, Xanadu
Patti LuPone, Gypsy
Kelli O'Hara, Rodgers & Hammerstein's South Pacific
Faith Prince, A Catered Affair
Jenna Russell, Sunday in the Park with George
Winner: Patti Lupone, Gypsy
Spoiler: Kelli O'Hara, South Pacific Kelli O'Hara is dazzling, but Lupone's turn as Mama Rose is a star turn. O'Hara will have her turn, but this isn't it.

Best Performance by a Featured Actor in a Play
Bobby Cannavale, Mauritius
Raúl Esparza, The Homecoming
Conleth Hill, The Seafarer
Jim Norton, The Seafarer
David Pittu, Is He Dead?
Winner: Raul Esparza, The Homecoming
Spoiler: Jim Norton, The Seafarer Tony will most likely want to make amends for Raul's Company loss last year.

Best Performance by a Featured Actress in a Play
Sinead Cusack, Rock 'n' Roll
Mary McCormack, Boeing-Boeing
Laurie Metcalf, November
Martha Plimpton, Top Girls
Rondi Reed, August: Osage County
Winner: Rondi Reed
Spoiler: Mary McCormack or Martha Plimpton

Best Performance by a Featured Actor in a Musical
Daniel Breaker, Passing Strange
Danny Burstein, Rodgers & Hammerstein's South Pacific
Robin De Jesús, In The Heights
Christopher Fitzgerald, The New Mel Brooks Musical Young Frankenstein
Boyd Gaines, Gypsy
Winner: Boyd Gaines, Gypsy
Spoiler: Danny Burstein, South Pacific I would love for Robin De Jesus to win; I remember him as pimply faced cross dresser Michael from Camp, but it's simply not in the cards.

Best Performance by a Featured Actress in a Musical
de'Adre Aziza, Passing Strange
Laura Benanti, Gypsy
Andrea Martin, The New Mel Brooks Musical Young Frankenstein
Olga Merediz, In The Heights
Loretta Ables Sayre, Rodgers & Hammerstein's South Pacific
Winner: Laura Benanti, Gypsy
Spoiler: Loretta Ables Sayre, South Pacific

Best Scenic Design of a Play
Peter McKintosh, The 39 Steps
Scott Pask, Les Liaisons Dangereuses
Todd Rosenthal, August: Osage County
Anthony Ward, Macbeth

Winner: Todd Rosenthal, August Osage County
Spoiler: Scott Pask, Les Liasons Dangereuses

Best Scenic Design of a Musical
David Farley and Timothy Bird & The Knifedge Creative Network, Sunday in the Park with George
Anna Louizos, In The Heights
Robin Wagner, The New Mel Brooks Musical Young Frankenstein
Michael Yeargan, Rodgers & Hammerstein's South Pacific
Winner: Michael Yeargan, South Pacific
Spoiler: David Farley and Timothy Bird, Sunday in the Park with George

Best Costume Design of a Play
Gregory Gale, Cyrano de Bergerac
Rob Howell, Boeing-Boeing
Katrina Lindsay, Les Liaisons Dangereuses
Peter McKintosh, The 39 Steps
Winner: Katrine Lindsay, Les Liasons Dangereuses
Spoiler: Gregory Gale, Cyrano de Bergerac

Best Costume Design of a Musical
David Farley, Sunday in the Park with George
Martin Pakledinaz, Gypsy
Paul Tazewell, In The Heights
Catherine Zuber, Rodgers & Hammerstein's South Pacific
Winner: Catherine Zuber, South Pacific
Spoiler: David Farley, Sunday in the Park with George

Best Lighting Design of a Play
Kevin Adams, The 39 Steps
Howard Harrison, Macbeth
Donald Holder, Les Liaisons Dangereuses
Ann G. Wrightson, August: Osage County
Winner: Kevin Adams, The 39 Steps
Spoiler: Howard Harrison, Macbeth

Best Lighting Design of a Musical
Ken Billington, Sunday in the Park with George
Howell Binkley, In The Heights
Donald Holder, Rodgers & Hammerstein's South Pacific
Natasha Katz, The Little Mermaid
Winner: Donald Holder, South Pacific
Spoiler: Ken Billington, Sunday in the Park with George

Best Sound Design of a Play
Simon Baker, Boeing-Boeing
Adam Cork, Macbeth
Ian Dickinson, Rock 'n' Roll
Mic Pool, The 39 Steps
Winner: Mic Pool, The 39 Steps
Spoiler: Adam Cork, Macbeth

Best Sound Design of a Musical
Acme Sound Partners, In The Heights
Sebastian Frost, Sunday in the Park with George
Scott Lehrer, Rodgers & Hammerstein's South Pacific
Dan Moses Schreier, Gypsy
Winner: Scott Lehrer, South Pacific
Spoiler: Acme Sound Partners, In the Heights

Best Direction of a Play
Maria Aitken, The 39 Steps
Conor McPherson, The Seafarer
Anna D. Shapiro, August: Osage County
Matthew Warchus, Boeing-Boeing
Winner: Anna D. Shapiro, August Osage County
Spoiler: Matthew Warchus, Boeing-Boeing

Best Direction of a Musical
Sam Buntrock, Sunday in the Park with George
Thomas Kail, In The Heights
Arthur Laurents, Gypsy
Bartlett Sher, Rodgers & Hammerstein's South Pacific
Winner: Bartlett Sher, South Pacific
Spoiler: Arthur Laurents, Gypsy

Best Choreography
Rob Ashford, Cry-Baby
Andy Blankenbuehler, In The Heights
Christopher Gattelli, Rodgers & Hammerstein's South Pacific
Dan Knechtges, Xanadu
Winner: Rob Ashford, Cry Baby
Spoiler: Andy Blankenbuehler, In the Heights

Best Orchestrations
Jason Carr, Sunday in the Park with George
Alex Lacamoire & Bill Sherman, In The Heights
Stew & Heidi Rodewald, Passing Strange
Jonathan Tunick, A Catered Affair
Winner: Whoever gets Best Score.

...Serious?

2008-03-12T08:11:00.000-07:00

Kevin Federline is in talks to take over for Andy Karl in Legally Blonde come September.

Will the insanity never end?

What I Did for...Cash?

2008-03-11T22:36:00.001-07:00

Mario Lopez will be joining the Broadway cast of A Chorus Line April 15.
This is a travesty. A.C. Slater, most recently seen in Husband for Hire, Holiday in Handcuffs, and as the host of MTV's Randy Jackson Presents America's Best Dance Crew, does not need to be on Broadway.

His dancing abilities seem fine, and I don't know about his singing abilities, but has anyone ever seen him act? Because he certainly cannot.

"Is it Brains? Is it Poise? No, It's Hairspray!"

2008-01-03T22:14:00.000-08:00

Date of Performance: November 3

Whenever most theatre people hear a tour is non-Equity, they groan, and immediately assume it won't be a quality production. True, the actors may not have the pedigrees of Equity performers, the sets are parred down, and the orchestra is smaller, but this production of Hairspray, though not as glitzy (read: expensive) as the Equity version, proves that it is entirely possible to still present a strong, vibrant show.

Director Matt Lenz and choreographer Danny James Austin have faithfully recreated the work of Broadway's Jack O' Brian and Jerry Mitchell, and the cast, though relatively inexperienced, performs the moves crisply. A dynamic, bubbly, joyful bunch, they enthusiastically come together well and look professional.

The sets have been toned down a little and the orchestrations are not as lush, but with a show like Hairspray it doesn't matter. "You can't stop the beat," no matter the volume.

The cast overall, is quite strong. Dan Ferretti (Wilbur Turnblad) is lovable and demonstrates a genuine affection for his larger than life wife Edna, Pearl Thomas (Amber Von Tussle) has especially good comedic timing, and Christan White (Seaweed Stubbs) is a powerful singer and dancer--his Seaweed demands attention. However, the real standouts for me were Alyssa Malgeri (Penny Pingleton) and Angela Birchett (Motormouth Maybelle). Malgeri stole the show--receiving the most laughs, she stole attention from the principals even in scenes where she had only a minor role. It's a shame that the Penny in the theatre version of Hairspray is not the one we see in the film--all respect to Amanda Bynes, but she is given absolutely nothing to do in the movie. Malgeri on the otherhand, got to act dorky, spastic, and awkward, which makes her transition from a gum smacking sidekick into a sassy Checkerboard Chick all the more exciting. Birchett also stood out for me. As much as I love Queen Latifah and thought she was fantastic in Chicago, I thought she was less than satisfying in Hairspray. Maybelle is supposed to be sarcastic, wise, frustrated, soulful, but Latifah plays her like a character that could be found in Beauty Shop. Birchett's rendition of "I Know Where I've Been" is powerful and was extremely interesting to watch in Memphis, a city that has its own complex relationship between the races.

Unfortunately, as good as this show is, there were a few weak spots. Kristin Colluras, normally one of the Nicest Kids in Town, was understudying for Tracy, and it just did not work. Not only was she too tiny and skinny, which made all the references to Tracy's weight a bit puzzling, but she simply lacked the overall charisma and giddyness required for Tracy. Tracy is a leader but Colluras never made me feel like Tracy was a leader. I only knew she was inspiring other characters to take action because I was told directly. Don't get me wrong, Colluras is a good singer and able dancer, but for a character like Tracy, you need more than just good--you need great. It was my fourth time seeing Hairspray so it left me frustrated; I'm not sure what a first timer would think.

My feelings about Jerry O'Boyle (Edna) are a little hard to wrap my head around. His interpretation is far from Fierstein's cartoonish original and more like Travolta's movie Edna. His Edna is insecure and plain, which works, but I felt like some of the humor was lost.

It's That Time of Year Again

2007-12-31T16:37:00.000-08:00

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..."

2007-12-23T12:38:00.000-08:00

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"

2007-12-23T12:35:00.000-08:00

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

2007-12-23T12:04:00.000-08:00

Some Wicked vids for your viewing pleasure:

Wicked Germany

Wicked Japan

Kristin Chenoweth's Last Performance:

In Support of National Tours

2007-12-13T11:47:00.000-08:00

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"

2007-11-28T21:40:00.000-08:00

Strike is over.

Broadway is BACK!

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

2007-11-28T17:28:00.000-08:00

Patti Lupone is going to be in Gypsy on Broadway.

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

2007-11-23T23:01:00.000-08:00

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.

Rehearsal
Parade Performance

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.

Transylvania Mania

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.

Do the 'Du

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
Supercal!

Lea Michele and Jon Groff:
Give My Regards to Broadway

Not a theatre star, but Hairspray is on Broadway and Nikki Blonsky is just so darn cute:
You Can't Stop the Beat

"Another Opn'in, Another Show"

2007-11-21T21:22:00.000-08:00

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

2007-11-13T13:15:00.001-08:00

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

So It Begins

2007-11-10T07:18:00.000-08:00

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"

2007-11-06T21:43:00.004-08:00

Full Preview

There's a Moment You Know...

2007-11-06T21:43:00.003-08:00

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

2007-11-06T21:43:00.001-08:00

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

2007-11-06T13:08:00.000-08:00

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.

Who's Your Sandy?
Who's Your Danny?

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"

2007-11-04T12:47:00.000-08:00

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...

2007-10-31T12:01:00.001-07:00

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.

2007-10-30T23:55:00.000-07:00

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?

2007-10-28T00:23:00.001-07:00

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

2007-10-26T11:00:00.000-07:00

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

2007-10-26T10:58:00.000-07:00

Please revive West Side Story.

IT'S TIME.

Update: They are reviving it! 2009!

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

2007-10-24T17:28:00.000-07:00

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.

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