Things You'll Learn To Love About Me

Resolutions for a Girl That Doesn't Make 'Em

2012-01-01T16:48:00.000-08:00

This piece of artwork hangs in a friend's home and I've admired it for years. Upon re-reading, I have decided that these ABC's of Life provide a wonderful guideline for living, especially as we embark on a new year and have resolutions on our minds. I wish everyone a happy, healthy and prosperous New Year and hope that each of us can keep these ABC's close at hand as we wend our way through 2012.

Accept Differences

Be Kind

Count Your Blessings

Dream

Express Thanks

Forgive

Give Freely

Harm No One

Imagine More

Jettison Anger

Keep Confidences

Love Truly

Master Something

Nurture Hope

Open Your Mind

Pack Lightly

Quell Rumors

Reciprocate

Seek Wisdom

Touch Hearts

Understand

Value Truth

Win Graciously

Xeriscape

Yearn For Peace

Zealously Support A Worthy Cause

Welcome To My Life

2010-12-02T08:04:00.001-08:00

Last Monday, my friend, the brilliant composer/lyricist Bobby Cronin, had his debut concert at Birdland. About nine months ago I met Bobby at an industry reading for one of his musicals and shortly thereafter joined him on what has been one of the most thrilling journeys of my life. In the months following that initial introduction to his music, he and I collaborated on the book for the powerful rock-musical Welcome To My Life, one of the many musicals Bobby wrote the music and lyrics for. During Monday's concert, Bobby said that every parent and every teenager should see this musical. I couldn't agree more - and not just because I am one of the writers on the project. I remember what being a teenager was like. It sucked. I can't even imagine what it is like to be a teenager today, let alone being a teenager in crisis. How wonderful to be able to tell the story that touches upon several of the issues facing today's teens in the form of new musical theatre!

That said, Bobby and I are ready to take the next steps in our journey together. 2011 promises to be very exciting as we work to put Welcome To My Life up on the boards and introduce this honest, moving and thrilling new rock musical to a new generation of audiences. The new year will also see Bobby and I working on some new projects together, an opportunity for which I am exceedingly thankful. Truly - the best is yet to come!

To preview some songs from Welcome To My Life, check out the videos below of Katrina Rose Dideriksen, Gerard Canonico and Tituss Burgess singing some selections at the Birdland concert.

Grateful.

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Check Out The Paving on the Road to Hell!

2010-11-20T05:13:00.000-08:00

OK. I had a week where I did a couple of posts. Then I vanished into the thin air of the blogosphere. I guess you are going to have to take what you get and not get upset. I truly am striving to write more and more often. But I'm a busy gal.

Since I last wrote, here are a few of things that I would have blogged about individually: we had to put our dog Shakespeare to sleep, the family saw Elf on Broadway, I produced a concert at The Palace (Gaby Alter and Sophie Jaff's Not That We're Bitter) and I celebrated my 2 year anniversary of being diagnosed with Type 1 diabetes.

Actually, since I have your attention, I wouldn't mind if you took a minute to check out this American Diabetes Month PSA.

You may not have known I had diabetes, it's that silent a disease. But to the one diagnosed with it, trust me, it screams. That shrill constant reminder to check your sugar, give yourself insulin and be aware of potential complications. It is precisely for this reason that you see me accomplishing so much in my life. It is because I live in constant fear that there will be no tomorrow. So in a way, my diabetes makes me live harder. And for that, I am oddly thankful.

In fact, those who know me, I don't live any harder than when I'm in the theatre. The theatre, my sanctuary. Tomorrow is the first day of auditions for a production of Parade that I am directing in Ridgefield, CT. This show is so seldom done and I am blessed to be at the of helm this powerful and important production. Take a glimpse of what will be coming to Connecticut in March 2011.

So if you are wondering as you wander by this little page of mine why there hasn't been an update, it is most likely because I have rehearsal. And to say that phrase, "I can't, I have rehearsal," is to utter what I believe are some of the most beautiful words in the English language.

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The Darling Apprentice

2010-11-05T06:29:00.000-07:00

Today I am busy. And the clock is ticking. So today you get a gimme.

Last week I set aside a little time to do something that I haven't done in a long while: watch The Apprentice. It seems like eons have gone by since that day I scrambled to have my Apprentice submission video transferred to DVD and overnighted from Martha's Vineyard. Now I hardly watch the show, save an episode here and there when my husband is watching. However, when I heard that the task was related to pitching new musical theatre to potential investors, I was interested. When I heard the talent included several of young Broadway's A-listers, I was excited. So I tuned in

The episode featured presentations from two new musicals: Darling by composer Ryan Scott Oliver (with bookwriter B.T. Ryback) and Little Miss-Fix It by librettist Kirsten Guenther (with composer Joy Son). And here's a tidbit for you: Ryan and Kirsten collaborated on the award-winning Mrs. Sharp and also the revue Out of My Head. Not unexpectedly, coverage of the task was largely dedicated to the actual teams executing the task and not the presentations. The actors were shown so fleetingly that I did a double-take when I thought I caught a glimpse of the uber-talented Nick Blaemire. I watched the episode up until the board room, which is where I lost interest.

If you would like to watch the whole episode of The Apprentice, click here. Fortunately, NBC was kind enough to indulge the MT geeks and post both full presentations on their site. To watch the presentations and vote for your favorite, click here. RSO also has a wonderful post on his blog about the whole experience, click here to read it.

When you watch the presentation, take note of Jay Armstrong Johnson's insane riff at the end of the Darling presentation. Insane. I am such a fan of Ryan's music, so I am compelled to share with you one of my top-rated RSO songs. This is "The Ballad of Sara Berry", with Johnson, Lindsay Mendez, Alex Brightmean and Natalie Weiss. Take note of the transformational notes that come out of Lindsay Mendez. Mindblowing.

To check out the lyrics for "The Ballad of Sara Berry" (and hear some other RSO tunage), click here.

Yes, the future of musical theatre is bright. Blindingly so.

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Halloween & Shakespeare

2010-11-01T06:24:00.000-07:00

I am a contradiction and I think that is what makes me interesting.

Yesterday was Halloween and, therefore, as a mother and a citizen I went through the obligatory motions. I applied my creative skills to help create a a dead Miss America, a corpse bride and a gladiator. I then piled my brood in a car, took them to a party and accompanied them as they went trick or treating. As I said yesterday on Facebook, I've never been a fan of Halloween. I don't like to dress up, I dislike being scared, I don't have a sweet tooth and I'm not a fan of walking around in the chill of late October asking for treats.

Whenever I say that I don't like Halloween people get this shocked look on their faces. They will often proclaim, "But you're a theatre person!" And I nod, understanding. Most of my friends are REALLY into Halloween. You see? I'm a contradiction.

I was also a Writing major. And I can't stand Shakespeare. Go figure.

This doesn't mean that I don't appreciate the awesome costumes that people dream up on Halloween or the important contribution that Shakespeare has made to literature and theatre.

It's just a reminder not to judge a book by its cover. A reminder that the contradiction that lies within could be the source of the best story you've ever heard or the spark of the best conversation that you've ever had.

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Flex Those Muscles, Girl!

2010-10-30T08:05:00.000-07:00

I'm going to try something new. I am not sure whether or not I will be successful but I'll never know unless I try, right? I am determined to give my writing muscles a more disciplined and steady workout and I am hoping that this blog will be where that happens. Starting today, I am going to commit to posting to this site at least five times a week. Beyond that, all is fair game. You may get a review, a musing, a project update or perhaps a shopping list. Don't know. It's pretty much going to be a WYSIWYG situation. Enter if you dare.

So, what has been going on in my life since my post-back surgery blog in early August? Firstly, I have recovered from the surgery. Now my aches and pains are just age related, not herniated disc related.

In September, TheStage Repertory Company launched its monthly Musical Mondays! series at The Palace Theatre in Danbury, CT. Each month, our company produces a concert featuring the songs of new and exciting musical theatre composer/lyricists. So far we have heard music from the canons of Bobby Cronin and Robert Rokicki. On November 15th, we are going to feature Gaby Alter & Sophie Jaff's Not That We're Bitter, about the high, lows and further lows of dating. For December and beyond, we are preparing an exciting lineup that will be announced very soon! If you can spare $15 (or $35 including train fare for those of you in the City), don't miss the chance to see original and fresh musical theatre performed by some of Broadway's brightest rising stars!

At the end of September I went to The Catskills with Bobby Cronin, Erica Ruff and a group of deliciously talented young actors. Over the weekend, we put the musical formerly known as The Beaten Path up on its feet. From that weekend emerged Welcome To My Life, a beautiful, moving and important new musical about the challenges of growing up and what can happen when make missteps on the journey to adulthood. I am so excited for people to see the first collaboration from the writing team of Cronin & Dempster. It really is a powerful piece of original musical theatre! In fact, if you want a sneak peek at some of the songs, why don't you head to Birdland NYC on November 29th to see The Roads I'm Taking: The Music & Lyrics of Bobby Cronin. You won't be disappointed!

I continue to reallocate focus to my writing, which has become an increasingly more rewarding and exciting way for me to spend my "spare" time. I am in the process of putting some pitches together for some new projects and I'm thrilled to say that I'm going to be collaborating on a new project with Bobby. You can certainly expect to hear more about my writing adventures in the coming months. In addition to working with TheStage Repertory Company and my writing projects, I am beginning to put together the pieces for the production of Alfred Uhry & Jason Robert Brown's musical Parade. This has been a longtime favorite of mine and I am thrilled to be at its helm for The Ridgefield Theater Barn's March 2011 production. After it goes up, I will be taking a bit of a directing hiatus as I spend more time writing.

I continue to go to New York and, when I can, try to catch my favorite performers in action. As part of NYMF, I saw some amazing productions including Anthony Rapp's Without You and Jennifer Ashley Tepper & Kevin Michael Murphy's If It Even Only Runs A Minute 4. I was at the first preview of Bloody Bloody Andrew Jackson, caught a Times Talks panel discussion with Tom Kitt and the new cast members of next to normal, took in a couple installments of the Joe Iconis Rock & Roll Jamboree run at The Beechman (where the breathtaking "Ammonia" made its debut) and I saw Off-Broadway Close-Up, which featured the pleasant surprise of the entire [title of show] cast joining the ever-cramazing Susan Blackwell in a kick-ass performance of "Die Vampire, Die!".

I will take a brief moment here to say that the 2010-2011 Tony Season on Broadway is getting off to a smashing start. I know that time and money won't allow me to see everything but if both were in abundant supply, these are the shows that I would be getting tickets to: BROADWAY: War Horse, Catch Me If You Can, The Scottsboro Boys, Priscilla Queen of the Desert, Spider-Man: Turn Off The Dark and Godspell. I am interested in The House of Blue Leaves with Ben Stiller & Edie Falco and Death of a Salesman with Philip Seymour Hoffman, admittedly this interest is primarily because of casting. OFF-BROADWAY: Angels In America, The Milk Train Doesn't Stop Here Anymore, Compulsion, The Intelligent Homosexual's Guide to Capitalism and Socialism with a Key to the Scriptures, By The Way, Meet Vera Stark, and One-Arm. I am also really, really hoping that I make it down to DC to see Follies at The Kennedy Center, featuring Bernadette Peters, Jan Maxwell, Linda Lavin and Elaine Page. It will be interesting to see how many of these shows I actually get to see. Thank God for things like TDF.

Tomorrow is Halloween, which really marks the beginning of holiday madness for me. In addition to raising three kids, wrapping up the year at the 4o-hour a week income generation establishment, producing a couple Musical Mondays! and casting Parade, the family has some exciting trips planned including the much-anticipated trip to Great Wolf Lodge in The Poconos. This time is also known as "time for mommy to write, while the kids conquer the indoor water park". Everybody wins.

So there you have it. I have written something. I have caught you up. And I've probably exhausted you a little bit.

I think I'm going to go take a nap.

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Help Diabetics & Vote for Tony's Plate

2010-08-03T16:11:00.000-07:00

Although it is not something that I spend a lot of time advertising, there is something about me that you probably don't know. I am a Type I diabetic. I was diagnosed in November 2008 and, as you can imagine, being diagnosed weeks away from my 40th birthday with a chronic illness typically associated with children was like a punch in the gut. However, I am one that is fairly adept at rolling with the punches and my diagnosis was no exception. Almost two years later, I have grown accustomed to the inconveniences of diabetes: the constant carb counting, the incessant pricking of my finger, the occasional low blood sugar episodes ("Drink the juice, Shelby!") and being constantly tethered to an insulin pump.

Last week I had a herniated disc removed from my back, which required an overnight stay at the hospital. After the surgery, I was wheeled up to my room. It was about 5:00pm and, having not had any food since midnight the night before, I was a bit hungry. I proclaimed that I was starving and, shortly thereafter, I was delivered my hospital cuisine which consisted of macaroni and cheese and some of the best damned canned peaches I ever ate. Alongside the tray was a menu, with the carbohydrates conveniently listed next to each menu item. I took my blood sugar reading, entered the BG level and the total carbs into my pump, and I had a very satisfying meal of institutional cuisine.

The next morning, after a virtually sleepless night, my breakfast arrived. This menu, however, did not have the convenience of the carbs listed next to the menu items, so I asked the nurse if someone could get me that information. After asking three times and getting no response, I stared longingly at my breakfast and resorted to my trusted Blackberry to Google each individual item to ascertain what the carb value of my breakfast was. By the time I had all the information at hand, my scrambled eggs were cold. Believe me, there is nothing worse than cold, hospital prepared scrambled eggs.

At lunchtime, as my sugar levels had elevated to near 400, the same thing happened. The food was delivered and there were no carb values listed. At this point, I was reduced to tears. Quite ridiculous, really. A 41-year-old woman sitting there sobbing because all she wanted to do was eat her lunch and get her blood sugar under control. This was certainly one of the moments that I missed the convenience of being able to eat anything I wanted, whenever I wanted. A convenience that the average, non-diabetic takes for granted.

Now that I am home from the hospital, recovering from back surgery, I spend a lot of time on the computer. Yesterday, the cramazing Susan Blackwell posted a video on her Facebook page and it came through my news feed. When I saw the [title of show] gang in the thumbnail, I clicked on it, diehard Tosser that I am.

This video, embedded below, is a call to action. Susan Blackwell's nephew was recently diagnosed with Type I diabetes and, in response, her brother built this amazing application called Tony's Plate. The application is a one-stop calculator where you can enter all of your food items and portion sizes online and it calculates the nutritional information for you - most importantly, the total carbohydrate intake. I cannot express how invaluable this tool is for a diabetic. Believe me, I wish I had known about it a week ago. It would have spared me a pretty pitiful emotional display.

This application has been submitted to Michelle Obama's Apps for Healthy Kids Competition as part of the Let's Move Campaign and, if it wins, Susan's brother gets to go to the White House and could win a couple of doubloons for this invaluable effort. So please, click on this link and take 90 seconds to vote for this application. Do it for Susan! Do it for me! Do it for diabetics everywhere! Do it because you're a Tosser! Do it because John and Susan are from Ohio! Just do it!

Rock the vote, kids!

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In Memoriam: Patrick Lee (1959-2010)

2010-06-11T07:42:00.000-07:00

It would seem you have stumbled upon a rare post on a neglected blog. This blog started in 2005 and through the last 5 years, in spits and spurts, I’ve posted my thoughts and musings about theatre, film and life. Writing for my blog is a beloved hobby. It started around the time I was writing the screenplay Harvest Home and, over the years, has morphed into a blog that is primarily theatre-centric.

I love theatre. I love it hard and I love it true. I’ve said it several times in my life and I will say it several more: it has been my one true constant, ever since I toddled around backstage during shows my father directed. Theatre never disappoints. She entertains, she educates, she energizes. She is most definitely the jealous mistress in my life and she will always beckon.

Not many people feel the way I do about theatre. But I’ve been lucky in my life to find a few. Several of them are bloggers themselves and are included in the “Bloggers You’ll Learn To Love” list to the right. I’ve met most of these passionate and intelligent theatre addicts and my appreciation for this glorious art has undoubtedly been made richer by reading their blogs.

Someone who has been included on this list for quite some time is Patrick Lee who, among other things, was the author of the blog Just Shows To Go You. On Wednesday afternoon, a mutual friend and fellow blogger posted a link on his Facebook page, informing us that Patrick had unexpectedly passed away at the age of 51. Through the magic of social networking, it did not take too long to realize just how many lives Patrick touched.

My only face-to-face meeting with Patrick was at a bloggers brunch at Angus McIndoe in March 2008. For the majority of the brunch he was seated at the other end of the table. However, before dashing off to a matinee of Passing Strange, he came to our end of the table and introduced himself. We chatted briefly about Show Showdown, our blogs, Taboo and Passing Strange, for which he had a great enthusiasm. That afternoon, I was off to see Lit and Messy and Not At All Ashamed at NYU, a concert featuring the music of my composer friend Joe Iconis. At the time, he hadn’t heard of Joe (also a Passing Strange fan, BTW) but soon thereafter he became a big fan and supporter of Joe’s work.

Following that brunch, I started reading Patrick’s blog. I would also read his reviews on Theatermania, became Facebook friends with him and followed him on Twitter. I knew him virtually, as so many of us did. It did not take long for me to realize what a gift to the theatre community he was. Most definitely, Patrick was a champion of new and original theatre as evidenced by his love of [title of show], Bloody Bloody Andrew Jackson, The Amoralists, Joe Iconis and more. We are so fortunate, to have an online legacy of Patrick, where we can Google his reviews, interviews and musings to our heart’s content.

I am lucky to also have a tangible reminder of Patrick. When Equus returned to Broadway, I won, via a Just Shows To Go You contest, a Playbill that had been autographed by the entire cast of said revival. Little did Patrick know, Equus was an instrumental part of my theatrical development, so it was a thrill to own such a meaningful piece of memorabilia. While I don’t know for certain, I am going to presume that Equus was one of Patrick’s favorites as well, since the original logo is the first tile on the banner affixed to the top of his blog. Ironically, one of Patrick's last published articles on Theatermania is an interview with Sam Underwood, who is playing Alan Strang in Tony Walton's production of Equus in East Hampton. From this day forward, whenever I look at that Playbill, I will think of Patrick.

It is always very hard, when someone passes away suddenly and unexpectedly, to make sense of it. I barely knew Patrick and I instantly became immersed in thoughts of his life, his family, his close friends and his colleagues. If I’m so deeply affected, how do those closest to him make sense of it? Then I think to myself, how wonderful it is that Patrick was a writer! How wonderful that so many of his friends are writers! As Patrick’s family and friends gather this weekend to memorialize him, they need only turn to the blogosphere for comfort. The online eulogies that have been cropping up on the internet are numerous, several of them by the bloggers listed to the right. In them, Patrick is remembered as an intelligent, passionate, sarcastic, inspiring, jovial, caring, witty, kind and much loved person. Most of us can only aspire to be remembered so fondly.

In whichever way great or small Patrick Lee may have touched your life, I think we can all agree we are better for having known him and for having known the work that he loved so dearly.

We have learned that Patrick had a heart attack and passed away quietly in his sleep. While nobody knows for certain what happened, I like to think that Patrick enjoyed a nice glass of wine, posted his interview with Joe Colarco about Burnt Part Boys, climbed into bed thinking about his predictions for the upcoming Tony Awards and then drifted off to his final sleep dreaming about the theatre, something he loved hard and that he loved true. A love that, thankfully, he shared with so many.

Curtain.

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There's A Woman At The Piano!

2010-01-09T08:06:00.000-08:00

A recent project that has come across my "desk" has once again stirred up my ire about the disparity in opportunities for women in the arts. I was asked to think of living female musical theatre/composer lyricists that would perhaps like to have their work showcased in NYC and after rambling off a few names, I soon came up dry.

Many moons ago I posted about the imbalance of female directors in Hollywood. I don't know why I should be surprised by the same irksome fact about women in the theatre arts. According to 50/50 in 2020: Parity for Women Theatre Artists, female playwrights, directors and designers receive only 20% of professional production opportunities nationwide. Sadly, this is not surprising. Testosterone still dominates on Broadway, with the big three, The Shubert Organzation, Nederlander and Jujamcyn, helmed by men. Without getting on a soap box, I will simply say that as a female theatre artist, I certainly hope that the male/female ratio on Broadway does reach 50/50 in 2020. Much can happen in 10 years, that is for certain.

So, back to the task at hand. Below is the list of female composer/lyricists that I was able to come up with. Have you got any to add to the list? Surely there are more female musical theatre composer/lyricists with a story to tell. Let's make sure that their story is heard!

Rising From The Ashes

2010-01-01T09:23:00.000-08:00

Today is the first day of a new decade. Today is also my birthday and, thusly, the beginning of my 41st year (or, depending on perspective, the beginning of my 42nd year).

Last year was difficult. And I'm not going to lie, I'm happy to see it end. I worked hard and I was let down hard. I made friends and I lost friends. It was a year of accepting truths - about myself, about my relationships, about my illness and about my aspirations. For me, 2009 was not only the last year of the decade but the end of a significant chapter in my life.

After my most recent blog post, the following T.S. Eliot quote appeared as the Facebook status of TBTA's future leader: “For last year's words belong to last year's language and next year's words await another voice.”

At first, I took it very personally. Last year, I spoke words in a language that will soon become obsolete. This year, a new voice will speak new words, in a new language. With one single quote, I felt both hurt and dismissed, as though all of my contributions were for naught.

Appended to the end of the quote from "Little Gidding II" was a fragment from a different T.S. Eliot quote: "And to make an end is to make a beginning."

Now, T.S. Eliot holds a special place in my heart. As a child, my father read to me from Old Possum's Book of Practical Cats (before Andrew Lloyd Webber got his hands on it). As a student, I explored the deeply complex world of T.S. Eliot, most specifically The Love Song of J. Alfred Prufrock and The Waste Land.

Of course, I know that my friend's usage of this quote was more likely predicated by the onset of the New Year rather than as a personal affront to me. However, despite its intent, I choose to use that quote, in its entirety, to begin the next chapter of my story: "What we call the beginning is often the end. And to make an end is to make a beginning. The end is where we start from."

Much like the Seneca quote in my previous post, T.S. Eliot purports that without an ending there cannot be a beginning. Endings are hard and often sad but they are, indeed, where we start from. Beginnings are exhilarating.

From the ashes rises the Phoenix and, as such, I am proud and excited to announce that, in collaboration with B. Peter Hughes and Joseph Russo, a new theatre company is being born. TheStage Repertory Company, devoted to championing new and lesser known theatre, will spread its wings in 2010.

TheStage Rep will begin producing theatre for our community in Spring 2010 and will announce our inaugural season in February 2010.

Join us, won't you? Because beginnings are, indeed, exhilarating.

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A Change of Heart

2009-12-30T18:42:00.000-08:00

"Every new beginning comes from some other beginning's end." - Seneca

Tomorrow marks the end of 2009, a year that I will look back upon as a year of preparation. Ironically, what I thought I was preparing for and what I was actually preparing for ended up being completely different.

Without question, 2009 was a very busy year. I directed two stage productions: Doubt at TheatreWorks New Milford and Little Shop of Horrors at The Brookfield Theatre for the Arts (TBTA). As the VP & Managing Director of TBTA, I produced four special events for the theatre: The Paddy Awards, the acclaimed production of Tea at Five, Susan Blackwell's Die, Vampire! Die! Workshop and Joe Iconis' Connecticut concert debut in The Not Suitable for Children Concert: The Songs of Joe Iconis. Also for TBTA, I directed two youth workshop productions: Sleeping Beauty Kids and Dear Edwina, Jr.

In 2009, focus on my writing took a back seat to theatre projects that were production-focused, not creative-focused. I spent the year entrenched in my activity, hoping that 2010 would see all of my hard work pay off. At the end of 2008, the current President of TBTA told me that I would be her choice to succeed her presidency. She also told me that 2009 would be her last year. I held that information close to the vest for the entire year. Since she said it, I took it to be true and I made plans accordingly. To make a long story short, she changed her mind. Instead of me being President, she wanted me to be a grant writer. Instead of nominating me, she nominated someone else to succeed her.

This change of heart devastated me. Many tears were shed. No explanation for the change in direction was offered, aside from the fact that it was the inherent right of the President to do so. So, in the end, I resigned from the Board and walked away from the theatre that I had called "home" for three years.

As I said before, though, 2009 was a year of preparation. While I thought that I was preparing to become the President of TBTA, that turned out not to be the case. TBTA slammed the door in my face but were kind enough to open up a window. Outside the walls of TBTA there lies a world of opportunity. And 2010 is the year that I will discover that world.

Want to join me on my expedition? Then stay tuned for a big announcement in 2010 that will mark the beginning of an incredible journey. And who better to share it with than you, my faithful readers?

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Shing-A-Ling, What A Creepy Thing To Be Happening!

2009-10-04T15:18:00.000-07:00

Here it is, October, and I find my favorite time of year whizzing by, chock full of all of the usual craziness. Naturally, that craziness involves a theatrical project. In a sense, I am returning to the familiar in so many ways. I am very excited to be directing Little Shop of Horrors , a favorite show, at The Brookfield Theatre for the Arts, my home away from home.

Many moons ago, while in college, I played Audrey in Little Shop. Hands down, I would say that playing that role was my single most memorable performing experience. It is very exciting now to be on the other side of the footlights as the director and to have the opportunity to work with such a remarkably talented cast that includes Matt Austin (Seymour), Jessica Braun (Crystal), Elayne Cassara (Ronnette), Rachel Corn (Audrey), Stephen DiRocco (Mr. Mushnik), Joe Harding (Voice of Audrey II), Barbara Kessler (Ensemble), Caitlin Kuhfeldt (Chiffon), Bob Lussier (Orin Scrivello, DDS), Jim Ryan (Puppeteer) and Alex Vournazos (Ensemble). We also have a crackerjack production staff that includes Stephanie Gaumer-Klein (Musical Director), Meg Jones (Producer), Brian Casella (Lighting Design), Kyle Pascuitti (Puppet Design), Patty Tompkins (Costumer) and Cindy Tyler (Costumer).

For those of you who recognize any of those names, you know that it is a lot of fun going to rehearsal every night and that the production is going to be off the hook. It is also insanely busy trying to juggle it all – work, family and rehearsals. That said, my feeble attempts at keeping this blog current will remain just that – feeble.

The other night I had dinner with a couple of theatre blogger friends and I was bemoaning the fact that I never get asked to attend Broadway shows for free. And then I knowingly admitted that if I actually spent time reviewing the shows and blogging more often that would probably be different. It was at this point that my friend pointed out that I don’t have time to write because I am too busy making theatre.

And that is a good thing. A really good thing.

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Little Shop of Horrors

at The Brookfield Theatre for the Arts (TBTA)
Evenings: November 6, 7, 12, 13, 14, 19, 20 and 21 at 8:00pm

Sunday Matinee: November 15 at 2:00pm

RESERVE NOW! Click here to reserve online or call the box office at 203-775-0023.

$20 for General Admission, $15 for Students with Valid ID

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What The Future Holds: My Original Musical

2009-09-27T11:58:00.000-07:00

Theatrically speaking, this is the time of year when my mind becomes preoccupied with what will happen next year. As many of you know, most of my spare time is spent in a theatre – either as an audience member, as a director or as a producer. When this year ends I will have produced two shows (Tea At Five and The Not Suitable for Children Concert: The Songs of Joe Iconis), directed the Young Performers Series (Sleeping Beauty Kids and Dear Edwina, Jr.), coordinated three special events (including a writing workshop with [title of show]’s Susan Blackwell) and I will have directed two full-length productions Doubt and Little Shop of Horrors).

2009 was a busy year. And it isn't even over yet.

In 2010, my spare time will continue to be spent pursuing theatrical endeavors but there will be a notable shift in focus. I will not be directing any full-length productions next year to free up more of my time for focus on writing, development and producing. There are so many talented directors in the area and I love that several of them want to be involved with TBTA. I directed four shows at TBTA in the last three years, they can do without me for a year or two.

I will continue to direct the Young Performers Series at TBTA, which will include a winter non-musical and a musical theatre summer camp for elementary and middle school students. I believe that the development of a young person’s appreciation for theatre is paramount to the future of the art and I am committed to making sure those opportunities continue to exist at our theatre.

My principal goal, however, is to get the rewrite of my original musical, Harvest Home, completed and to find a composer that will write the music for it. I just know that if I build it, they will come. I’ve had this rewrite in my head too long. When Maya Angelou said that there is no agony like bearing an untold story inside of you, she wasn’t kidding.

I’m tired of the agony.

So in 2010 I will tell that untold story and mark the year that the agony ended and the ecstasy began. Because that is the year I will have written the book to what will be an award-winning musical.

============================

Shanley's Doubt Opens at TheatreWorks in July

2009-06-29T12:41:00.000-07:00

Sister Aloysius has her certainty and armed with that she will not stop. Don't miss this riveting and thought-provoking production of the Tony Award and Pulitzer Prize-winning play Doubt, which runs July 10 through August 1, 2009 at TheatreWorks New Milford.

Doubt is directed by yours truly and features some of the finest actors in the area, including regional favorite Noel Desiato as Sister Aloysius Beauvier, J. Scott Williams as Father Flynn, Jessica Alex as Sister James and Stephanie Jackson as Mrs. Muller.

Tickets are selling fast, so order yours today!

I’m Making Strides To Cure My Diabetes

2009-06-06T06:53:00.000-07:00

I am a Type I diabetic. This is not something that generally gets conveyed in conversations, so I have friends that are still surprised to learn this information. Type I is also known as juvenile diabetes or insulin-dependent diabetes. I was diagnosed with in November 2008 at the very juvenile age of 39.

Being diagnosed with diabetes changes your life. It did not take long for me to learn about the conditions/complications associated with the disease or about the various treatments available and research being conducted. There are some fascinating advances that have been made and much of it is funded by the Juvenile Diabetes Research Foundation (JDRF). In fact, in a couple of weeks, yours truly will be handing over injection pens for an insulin pump, which will greatly reduce a bit of the PITA component of diabetes.

On Sunday, June 14th, I will be participating in a walk to raise funds for diabetes research. The walk is being co-sponsored by the Brookfield Lions Club and the JDRF. The Brookfield Lions Club also donated $200 to The Brookfield Theatre for the Arts, the theatre where I serve as VP & Managing Director, so for me participating in this walk is paying it forward and sideways and every which way.

Please consider making a donation to support my participation in this walk. There is no amount too small. If you are going to see me in person before the walk, you can give the cash/check donation directly to me. Unfortunately, this walk does not take online payments through the Lions Club or JDRF. If you would like to donate online, though, you can click here and make a secure online donation via PayPal. I will then write a check for whatever amount you donate and will provide the Brookfield Lions Charities with your name (and info if you want to provide for tax purposes).

If your pockets are feeling a little light right now, no worries. I’m planning on doing the big JDRF Walk to Cure Diabetes in the fall and I’ll reach out to you then, too.

Because I will keep participating until they find a cure.

==============================

DVR Alert: Broadway in Your Living Room!

2009-05-20T16:51:00.000-07:00

PBS never disappoints when it comes to bringing the magic of live theatre to our living rooms. While my eldest daughter is too young to see Billy Elliot (due to the frequent use of the F-bomb), the taste of Broadway she got from watching Finding Billy Elliot sufficiently awed her.

On May 27th, PBS will broadcast In The Heights: Chasing Broadway Dreams, another documentary about a Broadway juggernaut. This film will chronicle the journey of Lin-Manuel Miranda as he chased, and found, his dream: winning the 2008 Tony Award for Best Musical. View the trailer here:

Also airing on PBS, last year's concert of Chess filmed at Royal Albert Hall in London, starring Josh Groban and Idina Menzel. The musical, by the dudes from ABBA and prlolific lyricist Tim Rice, didn't have much success after it transferred from London to the States. However, it had a cult following and spawned the Murray Head hit "One Night in Bangkok". PBS will air the concert on June 17th at 9:00pm.

Though it isn't going to air until 2010, PBS has also acquired Spike Lee's film adaptation of the rock musical Passing Strange. I was very disappointed that I missed Stew's run on Broadway when the show ended prematurely. Fortunately, though, someone in Hollywood had the good sense to capture it on film and I simply cannot wait to see it. Initial rumors were that Showtime was going to acquire the property but I, for one, am glad I don't have to re-up my subscription.

Hooray for free television broadcasting live theatre!

==============================

Releasing My Inner Van Helsing

2009-05-03T06:37:00.000-07:00

Today, it's all about gathering up those wooden stakes and slaying those Vampires!

Check out our nifty article on BroadwayWorld.com and our groovy feature in The Connecticut Post. And when you've finished doing that, come on down to TBTA and join in the fun!

The ass-kicking begins at 2:00pm at the The Brookfield Theatre for the Performing Arts, 182 Whisconier Road behind the Library. Tuition is $60 ($50 for TBTA Members).

For further information, visit the TBTA web site.

A Gaythering Storm

2009-04-21T09:43:00.000-07:00

Once again, Funny or Die and Hollywood pair up to make a point... Brava!

A Gaythering Storm from Jane Lynch

P.S. I am so proud to live in the State of Connecticut!

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TBTA Offers Die Vampire, Die! Workshop with Susan Blackwell

2009-03-25T14:10:00.000-07:00

proudly presents

featuring Susan Blackwell

Sunday, May 3rd from 2:00-5:00pm

From the [title of show] Vampire Hunting Guide:
“a vampire is defined as any person, thought or feeling that stands between you and your creative self-expression.”

This writing/performing workshop, led by [title of show] star Susan Blackwell, invites participants to identify and nurture the seedlings of ideas through the writing process and into performance.

THEMES OF THE DIE VAMPIRE, DIE! WORKSHOP INCLUDE:
Creative Writing * Performance * Identifying and taking creative risks

Contributing to a collaborative process * Tapping into brave artistic freedom
Developing clear self-expression * Establishing a creative safe space

The Brookfield Theatre

for the Arts
182 Whisconier Road (Route 25 behind the library), Brookfield CT
For further info: 203-775-0023 or www.brookfieldtheatre.org

Fee: $60.00 per person ($50.00 for TBTA Members), includes all supplies

Space is limited! Click here to register now!
Fee and contact info must be received by Thursday, April 30th.

Registrations processed on first come, first served basis.

Mail Payment and Contact Info to:

TBTA [tos] Workshop, P.O. Box 528, Brookfield CT 06804

==================================

Now Playing or Coming Soon to a Theatre Near... Me!

2009-03-16T10:31:00.000-07:00

As regular readers know, most of this blog is spent posting about other people’s projects or shows that I’m not directly involved with. I’m okay with that. I feel that I have a fairly valuable and informed opinion when it comes to such things.

However, I would be doing myself a great disservice if I didn’t highlight some of my own projects, one of which is currently underway at The Brookfield Theatre for the Arts. At the moment, I am producing the critically acclaimed production of Tea At Five starring the incomparable Noel Desiato. This play, about legendary stage and screen actress Katharine Hepburn, has been touted a “theatrical phenomenon” in Northwest Connecticut.

The show’s playwright, Matthew Lombardo, attended the opening performance of this production, which premiered in January 2008 at TheatreWorks New Milford, and said: “This was the first presentation of the play I have seen outside of the original production [featuring Kate Mulgrew] and national tour. To witness Noel’s fearless interpretation and loyal dedication to the text was perhaps one of the greatest gifts I have received during my entire history with this play.”

If you haven’t seen this production and you have some availability in your calendar (only one more weekend to go!), I implore you to come and see this show. This performance is too important to miss.

Meanwhile, in the background, I am preparing for my next directing project, one of Connecticut’s first regional productions of the Broadway hit Doubt at TheatreWorks New Milford. My recent directing projects have been limited to musicals, for which I also have a deep devotion, but I am infinitely pleased to be helming a non-musical for a change of pace. And what a piece to sink my teeth into! This play, which won the Pulitzer Prize for Drama in 2005 and the Tony Award for Best Play, is a gripping story of suspicion, morality and certainty (or doubt) set in a Bronx Catholic school in 1964. I am certainly looking forward to spending time with both the text of this play and the talented actors that this production will most likely attract.

And in October it’s back to The Brookfield Theatre for the Arts, my home theatre, to direct the wildly popular and bloody rock musical Little Shop of Horrors. Back in my college days I portrayed Audrey, the ditzy blonde with the squeaky speaking voice, and fifteen years later it continues to be my fondest performance memory (yup, that's me in the pic above). I am definitely thrilled at the prospect of bringing that mean green mother from outer space to our quiet little corner of the world. It should be a grand way to end the season.

So, as you can see, I have a full plate for 2009 and, while I know your entertainment dollar is spent more judiciously these days, I hope that you consider stopping by to support both my creative endeavors and the fabulous theatres that are so graciously hosting them.

==============================================

The Story of My Life Could've Been So Much More

2009-02-21T05:41:00.000-08:00

I am very bad about getting reviews out in a timely manner. And then by the time I get around to it, they are no longer relevant because most of what I would have said has already been said by people far more important than me. Story of my life…

Speaking of which – how’s this for a crappy segue? – I saw the modest tuner The Story of My Life two days before its recent Broadway opening. The premise, sentimental and schmaltzy, was right up my alley. I’m also a longtime fan of Malcolm Gets and a new fan of Will Chase (thanks to the Rent: Live on Broadway DVD). Throw Richard Maltby, Jr. in the director’s chair, and you have a show with a lot going for it.

So what is the premise?

Two friends make a deal as kids – he who survives will eulogize. Thomas Weaver (Chase), finds himself in the sad circumstance where he has outlived his lifelong friend, Alvin Kelby (Gets). In a series of flashbacks, he attempts to put together the pieces of the past by “writing what he knows” for his friend’s funeral.

Basically, if Sunday In The Park with George, Merrily We Roll Along, Groundhog Day and It’s A Wonderful Life all walked into a piano bar, The Story of My Life is what would walk out, drunk and sloppy, with nowhere to go…

While the show does have a few nice moments, it never really packs the punch I was hoping for. We don’t really understand the reasons the two characters make the choices they do – to stay behind or to move on, to wed or to not, to pursue a dream or to be happy with the cards you’re dealt. Perhaps if we understood that better we would care more at certain points in the play. The one memory that repeats and builds throughout the show ends in a big “So what?” I felt a little gypped.

The music and lyrics by Neil Bartram were nice enough but nothing I left the theatre humming. One of the first songs in the show, “Mrs. Remington”, is catchy and clever and it sort of set an expectation that was never really met again. Also worth a mention is “The Butterfly”, a tidy little story song that serves as the perfect opportunity to showcase Chase’s vocal agility. It is also a song that will likely be plumping the audition books of aspiring singers everywhere. The book, by Brian Hill, services the score nicely enough but it never really peels back the scab, which might help this show have a little more impact.

The fact remains that Gets and Chase are both talented performers and, while the story is bland, the two actors carrying the show are not. Gets is intense and affable as Alvin and Chase is charming and aloof as Thomas.

Robert Brill's simple monochromatic set, with stacks of books that fade into a white wall, is striking. It serves as the canvas for some cool lighting effects by designer Ken Billington but for some reason I thought it would go further or do more and it didn’t. And, pretty as it is, when you start seeing snow fall from the rafters 30 minutes into the show, it kind of ruins the moment when it snows at the end.

Overall, I was nonplussed. I didn’t love it. I didn’t hate it. Even though I saw the show at a deeply discounted price, I still feel I should have been a little more satisfied my entertainment dollar investment. In actuality, I feel that that night, my money was better spent on the sushi dinner at Kodama.

===============================

UPDATE (02/21/2009):

After having had only 5 performances and 18 previews, The Story of My Life will close after its February 22nd matinee.

===============================

Stop the Breaking of 36,000+ Hearts

2009-02-19T17:18:00.000-08:00

Ken Starr - and the Prop 8 Legal Defense Fund - are attempting for forcibly divorce 18,000 same-sex couples that were married in California last year. The Supreme Court will be hearing arguments in this case on March 5th, with a decision expected within 90 days.

How I feel about Prop 8 is no secret. I have many gay friends - some of whom are married, some of whom are parents, all of whom have the capacity to love and care as passionately and devotedly as any heterosexual couple I know.

I urge you to watch this video, created by The Courage Campaign with the support of musician Regina Spektor. Then go to www.couragecampaign.org/divorce and join the 300,000+ people that have signed the letter to the Supreme Court asking them to invalidate Prop 8 and reject Starr's case.

This is important. Important to me. And important to so many that are important to me.

Peace.

Link: "Fidelity" - Don't Divorce...

===========================

The Real House Lives of Osage County

2009-02-11T17:15:00.000-08:00

I turned 40 a couple of months ago and, since my birthday is a week after Christmas, it is hard to come up with good birthday gift suggestions for those interested in giving them to me. My father, who I’ve mentioned on this blog several times and to whom I give most of the credit for cultivating my love of theatre, has not seen August: Osage County. So, knowing that the show suffers the same malady as others on Broadway, I suggested that for my birthday he and I go together before its low box office results in a closure.

Tomorrow night, thanks to my dad, I am going to visit the Westons once again in their new home at the Music Box Theatre. And tomorrow afternoon, as a sort of amuse bouche, we will be heading to the 92Y Tribeca to attend On Stage with August: Osage County, featuring Estelle Parsons and members of the cast and creative team for a behind-the-scenes look at the show. That should be really interesting.

I saw August: Osage County around this time last year, at the Imperial, with the entire original cast. I loved every minute of it. Certainly, I am eagerly anticipating both Estelle Parsons and the new casts’ performance. In actuality, though, I am just excited to see the show again. And I’m sure that coming fresh off the lecture, too, will add a whole new perspective that theatre geeks like me just get giddy for.

After a week of impetigo, strep throat, sick days and deadlines, it will be nice to escape to Osage County for a few hours. Funny that. Really funny.

I’ll be sure to let you know how the trip was.

======================

I'd Plotz for a Klotz!

2009-02-03T15:41:00.000-08:00

At least there's free shipping...

Top 5 Discoveries of 2008

2009-02-02T16:10:00.000-08:00

The last few weeks have been, shall we say, tumultuous and as a result of said turmoil I have had a minimal presence in the blogosphere. However, yesterday was Superbowl Sunday. As a no/low-sports family, the Superbowl is honored in our house by muting or fast-forwarding the game, watching the commercials and eating kick-ass snack foods. I made use of the time by hopping back on the bloggy horse in order to provide the last of my round-up lists… The Top 5 up-and-comers on today’s musical theatre scene.

#1. JOE ICONIS

Loyal readers should find no surprise in the fact that my top discovery of 2008 is Joe Iconis and his unruly troupe of musical theatre punks. Joe is so sick with talent that, despite the troubled economy darkening several New York marquees, he saw three fully-realized productions of his musicals in 2008: The Black Suits, The Plant That Ate Dirty Socks and ReWrite. This past year also saw the critically-acclaimed return of Iconis' signature concert, Things To Ruin, as well as gigs at Joe’s Pub, Sardi’s and the West Bank Café.

Joe's songs tell stories. Good stories. Songs that people relate to. Songs about ordinary people in extraordinary circumstances. Each tale told with the perfectly blended cocktail of honesty, irreverence and dirty words. But what intoxicates you are those contagious melodies, euphonious harmonies and pulsating rhythms that make people want to sing them. And sing them. And sing them.

And stomp a hole in the floorboards.

#2. SCOTT ALAN

I first stumbled upon Scott Alan via a YouTube search that ended with a video of Jonathan Groff singing a beautiful ballad about a telephone call. That led to Danny Calvert killing you softly with this heartbreaking tale of divorce. Which led to song after song of Broadway celebrities singing Scott's beautiful compositions. Not long after, I downloaded Scott's release Dreaming Wide Awake from iTunes.

Like Iconis, Scott has a knack for writing songs that tell a story. Where Iconis' songs tend to tell stories more about the idiosyncratic, Scott's songs are inclined to explore those universal chords that strike in relationships. His follow-up release, Keys, won my heart with "Blessing" and "The Dress". In addition to his incredible talent, Scott also champions the work of other up-and-coming artists through his Monday Nights, New Voices program, which has featured several of the composers featured in my sidebar.

All of my exposure to Scott's music has been through his releases and YouTube. I haven't made it to a live show yet but plan to as soon as schedule and budget allow. I also count myself among those anticipating the staging of his musical Piece. I love it when a composer's music, like Scott's, stands on its own, so I am always anxious to see their music in the context of a book musical. And something tells me when that happens, I won't be disappointed.

#3. NICK BLAEMIRE

2008 marks the year that the multitalented Nick Blaemire hit my radar. The first I'd heard of Nick came in April or so, when the theatre community was abuzz about this kid, who was making his Broadway performing debut in Cry-Baby and, at the same time, preparing for his Broadway debut as a composer/lyricist with the coming-of-age musical Glory Days. I did see Cry-Baby and was nonplussed. I did not see Glory Days but wish I had. Both shows shuttered quickly but Blaemire certainly did not walk away defeated. A streak of performances to round out 2008 followed: in Iconis' The Black Suits at The Public's Summer Play Festival, in Mazzaferri's Green Eyes at the NY Fringe, in the return of Iconis' Things To Ruin and in the debut of Iconis' musical triptych ReWrite. Nick is an energetic and dynamic performer with a savage rock tenor voice. And you are hard-pressed to find a performer with a higher likeability factor. He's sort of the Ferris Buehler of musical theatre.

Expect great things from Nick. More great performances, certainly, but look out for his next writing project, which partners him again with his Glory Days co-writer James Gardiner. Nick played a selection from the commissioned project at a concert a few months back and I feel confident saying that he has not seen the last of his "glory days".

#4. GABY ALTER

If you want a composer who is on the cusp of greatness then you need look no further than 2008 Jonathan Larson Grant winner Gaby Alter. As with the other composers on this list, Gaby writes a kick-ass story song set to some fiercely catchy melodies. I defy anyone to listen to this song and not walk away humming. Gaby is a prolific writer with many works in development, including my personal favorite, 29. In January 2009, Gaby and his writing partners Tommy Newman and Mark Allen had their musical Band Geeks! featured as part of Goodspeed Opera House's 4th Annual Festival of New Artists.

I had the privilege of hearing Gaby perform one his compositions at The Secret Show back in the fall. But his talent won't be a secret for long. Before long Gaby will break through in a big way and you can say that you heard it here first. And you'll be able say something similar to what I say to my friends when they finally discover Facebook: "Yeah, I started that addiction 2 years ago!"

#5. JAKE WILSON

2008 saw many memorable Broadway/YouTube marriages (think [tos], Legally Brown, Cubby Bernstein). Not to be outdone, fresh-faced and fancy-footed Jake Wilson leapt right onto that bandwagon with The Battery’s Down. This "online tv series" chronicles Jake's life as a struggling actor in New York, complete with fancy Broadway guesties and big splashy musical numbers. Bear in mind that this YouTube jewel is a ship captained primarily by Jake, who wears the hats of director, writer, cinematographer, actor and choreographer. It helps, too, that he runs with a talented crowd who help out as his supporting cast. The professional quality of TBD, combined with Jake's unbelievable charm and business sense, as heard in this Playbill Radio interview, will most assuredly propel him swiftly to the limelight.

But the bottom line is this: Jake has talent. Well, many talents. In fact, while The Battery’s Down was on filming hiatus, that talent landed him a role in a production of Hair out West. But fret not, the tours and out-of-town gigs are over and the cast and crew of TBD are back at it for Season 2, premiering March 1st. And they should be around until the next gig surfaces, which is pretty much assured with this bunch.

====================================================

Broadway Can Kick Your Ass

2009-01-22T07:18:00.000-08:00

Thanks to Moxie the Maven for posting this one. Hey - we've all had our fair share of laughs and chortles at Jeremy Piven's expense so why should Kristin Chenoweth be an exception?

Yes, ye Hollywood types who dare tread the boards, Broadway can kick your ass! It's haarrrd!

Kristin Chenoweth's Advice to Jeremy Piven

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Save Broadway

2009-01-12T16:37:00.000-08:00

The lights on Broadway may be a little dimmer these days but thankfully there are people like Neil Patrick Harris (and the cast of SNL) to remind us that even in the darkest days a little laugh can go a long way.

Top 5 Performances of 2008

2009-01-02T15:51:00.001-08:00

TOP 5 BROADWAY PERFORMANCES

#1. Deanna Dunagan
I have not experienced a performance as engaging, intricate and complex as Deanna Dunagan’s interpretation of acid-tongued Violet Weston in August: Osage County. We saw the Pulitzer Prize winning show fairly early on its run but by then the buzz about Dunagan’s performance was loud and the expectations were high. Needless to say, I was not disappointed.

#2. Lin-Manuel Miranda
The exuberance with which Lin-Manuel Miranda accepted his Tony for Best Score speaks volumes about what he has assembled onstage at the Richard Rodgers. The young and talented star of In The Heights takes the American dream and those universal yearnings for success, for wealth and for love and brings a vivid story of family and belonging to Broadway. To see him perform that story was truly an experience to behold and I am happy that I had that opportunity.

#3. Amy Morton
August: Osage County is a masterfully written ensemble piece with solid performances throughout. However, to not single out Amy Morton’s performance would be a significant oversight. As Vi’s daughter Barbara Fordham, Tony nominated Amy Morton navigated her way through Letts’ tour-de-force and didn’t miss a beat. Not only did she navigate, she took you for a thrilling ride. After a brief stop back at Steppenwolf to direct Conor McPherson’s Dublin Carol, Morton reprised her role with most of the original cast in London. Yeah. It’s been a pretty awesome year for Ms. Morton.

#4. Cheyenne Jackson
I was certainly very late jumping on the Cheyenne Jackson train. But I’m glad I’m aboard. I had seen him in United 93 and thought he was very good. I never made the connection that that same actor was Sonny Malone in the unexpected hit of the season, Xanadu. I have since seen Cheyenne in Damn Yankees and in episodes of several YouTube series including [title of show] show, The Battery’s Down, Legally Brown – The Search for the Next Piragua Guy and, of course, the Cubby Bernstein videos. I look forward to whatever he does next. A class act and a stellar talent indeed.

#5. Daniel Radcliffe
Of all of the Broadway shows that I saw in 2008, I would have to say that Equus is the one that I anticipated the most. I never really posted a proper review of this production. Largely because I was insanely busy. Partly because I didn’t have a whole lot to say about it. However, one thing that delivered as expected was Daniel Radcliffe. His Alan Strang was subtle, complex and passionate. I hope that he continues filling his down time from Hollywood with stage work.

TOP 5 OFF-BROADWAY PERFORMANCES

#1. Jim Norton
It was his performance in Conor McPherson’s The Seafarer that earned him the Tony but it was his turn in The Atlantic Theater Company’s production of McPherson’s Port Authority that captured my heart. His simple and sad portrayal of Joe was heartbreaking. McPherson wrote a beautiful role and upon seeing Norton in Port Authority it became clear why he is frequently entrusted with roles in McPherson’s plays. It is because he is an actor that knows how to lovingly and masterfully bring those characters and that gorgeous language to life.

#2. Nick Blaemire
I saw Nick Blaemire perform in a lot of things last year, one of the reasons that he is also on my forthcoming Top 5 Discoveries of 2008 list. It is difficult to single out one performance, as they were all good. But I would have to say that it was in Joe Iconis’ The Black Suits that I was first won over. Nick is an energetic performer with an impressive vocal agility and a natural gift for musical comedy, qualities that were well showcased in Iconis’ rock musical.

#3. John Gallagher, Jr.
Last winter was one of transition for John Gallagher, Jr. He left Spring Awakening, he parted ways with Old Springs Pike and he landed a small role in Woody Allen’s new film. He also appeared in two productions at The Atlantic Theatre Company, Farragut North, which was touted as one of the best in 2008 by Time magazine. The other, the simple monologue play Port Authority. Gallagher’s sensitive performance, complete with a spot-on Irish brogue, proved once again why he is and will remain one of my favorite performers.

#4. Will Swenson
Charismatic actor Will Swenson, who played George Berger in last year’s concert in Central Park, reprised the role in The Public’s 2008 summer production of Hair. His boundless energy, powerful voice and infectious delivery explain why this performer is one to watch. It is also why he is in the fortunate position to be choosing between two 2009 Broadway transfers: Hair and Rock of Ages. Rumor has it that he has favored the 60s rock musical over the 80s one. I, for one, am happy with that choice.

#5. Sam Waterston
OK – I’m sure I’ll get slapped silly for saying this – but I am not a fan of Shakespeare. I have tried numerous times to appreciate his work, each time hoping that I will get caught up in his spell, but alas to no avail. This summer I once again made the attempt with Shakespeare in the Park’s production of Hamlet. I have to say that this was the most engaged I have ever been and that is largely due to Waterston’s interpretation of the meddlesome Polonius. The mixture of humor and pathos with which Waterston played the character has definitely proven him worthy of his espoused reputation among Shakespearean troupes. Who knows, perhaps I will give the bard another whirl if Waterston is at the helm.

Honorable Mentions
These “best of” lists are limited to Broadway and Off-Broadway shows of 2008. However, I wanted to venture beyond that parameter to cite two stellar performances: one from community theatre and one from college theatre.

Noel Desiato’s performance as Katherine Hepburn in Theatreworks New Milford’s Tea At Five was positively mesmerizing. Never before have I seen an actress embody a character more expertly or more believably than in this one-woman show about the legendary actress. Desiato proves that you don’t have to go to New York to see a gifted actress perform. I look forward to producing Tea At Five in 2009 at The Brookfield Theatre for the Arts, where Desiato will reprise her star-quality performance.

2008 also saw the performance of Caitlyn Caughell in Jeanine Tesori’s rarely produced gem Violet. In the titular role, Caughell was earthy and sincere with a voice that masterfully navigated the challenging score. Apparently, I’m not the only one who thinks so. Tesori, who saw NYU’s production, has invited Caughell to sing at The Kennedy Center later this month. Without a doubt, Caughell is a force to be reckoned with, and it won’t be long before she takes up residence on the Great White Way.

===================================

Top 5 Productions of 2008

2008-12-21T16:55:00.000-08:00

So I’m sitting here on this cold, snowy December morning thinking about the New York theatre I saw in 2008, attempting to compartmentalize everything into a scant few Top 5 lists. Let me tell you – it has been a challenge. But I think I’ve done it.

So, without further ado…

TOP 5 PRODUCTIONS OF 2008
The following Top 5 list is based on Broadway and Off-Broadway productions I personally saw in 2008. There were, in fact, a lot I did not see: Passing Strange because I was stupid, South Pacific because I had to make choices, Billy Elliot because I’m broke. I suspect this list would have been drastically different had I seen any of those shows.

1. August: Osage County
August: Osage County is widely known as the three-hour play that you want to last another three hours. And it has not earned that reputation without reason. It is a brilliant, character-driven story that propels you through a few tragic yet hysterical days in the Weston household. To put it simply, August: Osage County leaves you beautifully stunned. Tracy Letts’ subsequent Tony and Pulitzer are so well deserved. I saw the production early enough to see the entire original cast, including the author’s father, Dennis Letts, who was in the final days of his battle with lung cancer. To read my complete review, click here.

2. Hair
In September 2007 I slept on the line at the Delacorte to see the concert in Central Park. In August 2008 I did the same thing to see Diane Paulus’ fully realized production as part of The Public’s Shakespeare in the Park series. And in February 2009, I’ll trade in my sleeping bag for a $100 bill and will be able to see it in a big fancy Broadway house. Little will compare to that sultry summer evening in Central Park, seeing this moving and inspired production of Hair under the stars and in this political climate. The memory of rushing to the stage to dance to the final strains of “Let The Sunshine In” with this stellar cast will be forever cherished.

3. [title of show]
[title of show] touched a nerve, tickled my funny bone, made me cry and won my heart in 90 minutes. The “little show that could” chronicles its own move to Broadway in a way that speaks to all creative types battling those dreaded vampires. Rocking hard with only four chairs, Hunter, Jeff, Heidi and Susan proved that a small, original musical has just as much right to the Broadway stage as those big, splashy type musicals. Sadly, [title of show] was one of the many casualties of the bleak 2008-2009 season. Something, however, tells me that we haven’t seen the last of this incredible foursome or their original musical. And I certainly am one [tos]ser eager for their return.

4. In The Heights
In June, being caught up in the delightful frenzy of Ms. Antoinette Perry’s company, a friend and I agreed to get tickets for In The Heights for September just moments before it won the Tony for Best Musical. Of course, I was foolishly thinking I’d have the money to afford a full-price orchestra seat by then. After selling about $150 worth of CDs, I raised the money and despite the looming threat of Hurricane Hanna’s aftermath, I headed to NYC to see In The Heights. And the adventure begins there. I missed my train and arrived in GCT with 10 minutes until curtain. I grabbed a cab and was dropped off in a torrential downpour two blocks away from the Richard Rodgers. As soon as I got out of the cab, I realized that I was missing my wallet along with my train ticket, credit cards, ID and $200 cash (to pay my friend back for the aforementioned unaffordable ticket). I ran through the pouring rain to get to the theatre, picked up my ticket at the box office and rushed down to the 2nd row. Just as soon as I announced, “My wallet is gone!” the house lights dimmed and the show began.

During the whole opening number of In The Heights, my mind was racing with worry. Even still, it didn’t take long for this invigorating and heartfelt production to reel me away from those worries for a couple of hours. In The Heights is an exuberantly performed show that inspires on so many levels. And, like [title of show], I heart Lin-Manuel Miranda and the cast of In The Heights, too.

5. Port Authority
One of my personal favorite actors, Tony winner John Gallagher, Jr., made two post-Spring Awakening appearances on the Atlantic Theater Company’s stage in 2008. Most recently he appeared in the much touted Farragut North, which I unfortunately had to miss. Earlier in the year, however, he appeared in Conor McPherson’s beautiful monologue play Port Authority, which I did have the good fortune to see. Alongside the brilliant Jim Norton and the masterful Brian d’Arcy James, Gallagher’s vulnerable and heartbreaking turn as a young Irishman helped to create one of 2008’s most pleasant surprises and a memorable evening of theatre to behold.

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BROADWAY/OFF-BROADWAY SHOWS I SAW IN 2008:
Broadway: [title of show], August: Osage County, Cry-Baby, Equus, Hairspray, In the Heights, Spring Awakening (2x) and Xanadu; Off-Broadway: Damn Yankees, Green Eyes, Queen Esther, Hair, Hamlet, Port Authority, The Black Suits and The Plant That Ate Dirty Socks.
=============================================================

Two Videos You Must See!

2008-12-06T05:17:00.000-08:00

OK – November was a busy month. And I lived through it. December is busy, too. A different kind of busy but busy nonetheless. Now I’m just seeing how many times I can used the word busy in one paragraph. Ooops! I did it again!

So basically that is why posts have been sparse. I’ve been busy. But not so much that I am not able to spend a few moments to share two am-AH-zing videos with you. The first is a star-studded musical video, Proposition 8 – The Musical, in response to the embarrassing and hateful gay marriage vote in California. I now have one more reason to love Allison Janney and dear ol’ Doogie himself, Neil Patrick Harris. Also featured are Jack Black as Jesus Christ and Sarah Chalke, Margaret Cho, Barrett Foa, Nicole Parker, John C. Reilly, Andy Richter, Maya Rudolph and Kathy Najimy. It is fucking brilliant!

And a shout-out to the incredibly awesome Lin-Manuel Miranda and the cast and crew of In The Heights. The video speaks for itself.

Yes, Nicholas, there is a Santa Claus. And he owns a bodega in Washington Heights.

Click here to read the whole story behind 10-year-old Nicholas Dayton and his YouTube video that earned him the chance to perform the Finale with Lin and the entire cast and crew in between a matinee and evening performance. Nicholas’ performances sort of remind me of that time when, with Fireside Theatre script in hand and my OBC LP spinning on the ol’ Fisher Price, I acted and sang the entire production of Pippin in my bedroom. If only they had computers with cameras then. No wait, perhaps not.

So enjoy those little video treats while work on my Top 5 Lists for 2008, which will include Top 5 Shows, Top 5 Performances, Top 5 Discoveries and Top 5 Videos. I might also ruminate on the Top 5 Posts and/or Keywords from my blog. But that all depends on how busy I get.

My Broken Foot

2008-12-01T08:04:00.000-08:00

Despite the fact I had been around the theatre practically since birth, it wasn’t until 1979 that I first acted before an audience that wasn’t assembled in my living room. It was in a children’s play called Once Upon A Clothesline and I portrayed the pivotal role of Dr. Beetle who aids the unfortunate clothespin Pinette, who has fallen from the clothesline.

We rehearsed at the YMCA in whichever room was available to accommodate our tween-aged thespian troupe. On one particular afternoon we rehearsed in the gym amidst the gymnastics equipment. Like most 10-year-old girls who had been swept up in the whirlwind of Nadia Comaneci’s 1976 Summer Olympics in Montreal, I took gymnastics. And having taken two years of gymnastics classes at that very same Y, I fancied myself a gymnast. One wintry afternoon, during my offstage time, I found myself wandering over to the balance beam and performing a round-off dismount that ended in a very un-Comanecilike landing.

The next morning my swollen and purple foot prompted a visit to the doctor’s office. Upon further examination, the doctor suspected that the foot might be broken and put my foot in a temporary splint that would stabilize it until we got to the hospital to have it x-rayed. As he was wrapping my foot, I remember crying. Not because my foot hurt, although it did, but because I was going to miss out on my big acting debut.

A broken growth plate, a foot cast and a set of crutches later, the accommodating creative team rallied and I was still able to make my acting debut. In fact, the doctor that made her entrance on crutches was cause for a bit of a chortle. So, despite the drama and the tears, the show still went on and I with it.

Throughout the years, many of my acting experiences have had a “broken foot” that I’ve had to work through alongside the performance: my aunt’s suicide, the death of my grandfather, my sister’s near fatal accident, my father’s cancer diagnosis. In many ways, having a show to focus on has helped me work through those difficult times. It is probably one of the many reasons that I have such a passion for theatre and why I repeatedly refer to it as my one true constant.

Nowadays, after having dallied in many of the theatre’s disciplines – acting, writing, directing, design, stage management, choreography and crew – I find myself opting for directing projects. Don’t get me wrong, I love acting but because I have to be more discretionary with how I select my theatre projects I usually opt for directing projects. In most cases I am more passionate about the shows that I have the opportunity to direct than the ones that I would be interested in auditioning for.

Of course, as fate often dictates, when it rains it pours. 2009 promises to be quite the theatrical year for me. I have received four offers to direct, two of which I have accepted. Furthermore, while official announcements won’t be made until January, there are a few other theatre-related endeavors that I will have a hand in. Naturally, amidst this flurry of theatrical activity, two dream roles that I would give my eye-teeth to audition for have surfaced. Given my love for theatre, all of this opportunity is akin to letting a kid loose in a candy store. And being the realist that I am, I have been waiting for a few months for the other shoe to drop.

And it has.

The shoe first dropped with the reminder that I need to be cognizant of the other responsibilities that I have in my life: my family, my marriage, my job. Regretfully, I never pursued my theatrical ambitions in earnest and, therefore, my love of the stage does not pay the bills. As such, there is no justification for my theatrical adventures outside of the happiness and personal fulfillment it brings me. Given the strain that it puts on the other aspects of my life and recognizing the selfishness of pursuing an unrealized dream is basically a dropping shoe that was both inevitable and justified.

However, unbeknownst to me at the time, that dropping shoe was falling off of a broken foot.

Last week I was diagnosed with type 1 diabetes. During tech week for Little Women and the week abroad that followed I was feeling a bit under the weather. I knew something was up and scheduled a doctor’s appointment for the Monday following my return from the UK. At the appointment I listed off my symptoms and the nurse asked me if I had history of diabetes in my family. After a couple of quick tests in the office, it was evident that I did, in fact, have diabetes. My doctor sent me to the pharmacy and I was put on insulin straight away. The next day, I went to the endocrinologist who explained to me that I had such high sugar and ketone levels that I narrowly escaped ketoacidosis and hospitalization. Another blood test later, it was revealed that I did indeed have type 1 diabetes and that I would be on insulin injections for the rest of my life.

Now, like any self-respecting theatre aficionado, I have seen Steel Magnolias and, until now, that play/film had formed the basis for my knowledge of diabetes, specifically type 1 which Julia Roberts’ character Shelby has. When I tell people of my diagnosis, I can see in their faces whether or not they are replaying select scenes Steel Magnolias in their heads. And that’s okay. I have done it countless times, too.

There are times when I’m scared. There are times when I’m pissed off. There are times when I’m sad. There are times when I'm defiant. And those feelings will not go away, much like the disease responsible for generating them. I’m sure these emotions will grow more infrequent as I prepare for a lifetime of “managing” diabetes. It is just a matter of incorporating them, and it, into my now drastically altered life.

It is amazing what a person can learn in two weeks. Naturally, I am reading as much as I can about the disease and am doing my level best to get it under control. My life experiences have provided a pretty solid medical knowledge, so I’m learning the textbook side of things fairly easily and I've become a pro at injecting insulin into my now bruise-covered stomach. But in the past two weeks I’ve also learned a lot about myself. I’ve learned that I have a passion for many things: my family, my friends and my art. I’ve also learned how difficult it is to balance so many loves. While it isn't a skill I've yet mastered, it is one I plan to hone. But as Emerson says, art is a jealous mistress. Believe me, I recognize the priorities I’ve got at the moment but I also know that my mistress will wait only so long before she gets restless.

So here I am, left to steady my course and face the road ahead. Yes, I have a broken foot and, while it may slow me down for a bit, it will not stop me. So, despite the drama and the tears, the show will go on and I will go on with it.

Mark my words.

========================================================

Burning The Candle At Both Ends

2008-11-08T10:53:00.000-08:00

So I've been super busy lately - working the day job, devoting my evenings to rehearsal for Little Women, spending weekends with the family and just generally being crazed.

That said, if you live within a reasonable distance from Brookfield, Connecticut, get your tickets to see Little Women now. The cast is amazing, the voices are tremendous and its a classic story in the form of good, wholesome musical theatre. I'm pretty proud of this puppy, I must say.

LOCATION: The Brookfield Theatre for the Arts (TBTA)

ADDRESS: 182 Whisconier Road (Route 25) behind the Brookfield Library

DATES: November 7, 8, 14, 15, 21 and 22 at 8:00pm and November 16th at 2:00pm

RESERVATIONS: 203-775-0023

WEBSITE: http://www.brookfieldplayhouse.org/

In between rehearsals, I worked in two trips to NY to catch a couple shows. The first show being the much anticipated Equus featuring Richard Griffiths, Daniel Radcliffe and Kate Mulgrew. Now, I've seen two separate productions of this show in my lifetime, performed the stable scene in a Florida State Thespian competition and have read the play several times. So I think it's safe to say I'm familiar with the show. Daniel Radcliffe was quite good, Richard Griffiths was palatable but miscast I'm afraid and Kate Mulgrew was stiff and awkward. The actors playing Mr. and Mrs. Strang had horrible British accents and hardly came off as despicable as I think they should.

The set design had its good points and its bad. While the observation deck that hosted onstage spectators looked cool, I don't think anyone that paid full orchestra prices for those seats would say that they were optimal seating. It was very distracting to have the actors moving the boxes around to create the various locales. While I expect (and employ) this method in community theatre, I do not understand it on Broadway. And after the blinding scene, lowering the six wire horses heads from the ceiling was not only hokey but distracting.

So I guess you would say I was underwhelmed.

The other show that I took in was a Joe Iconis & Friends gig at The Laurie Beechman Theater. It was just the right jolt I needed to get me through to December or January. Several classic Iconis tunes were performed and Joe also invited some his favorite emerging composers to share the spotlight. Several of the artists that you see in the "Creative Types" sidebar (Gaby Alter, Nick Blaemire, Jason "SweetTooth" Williams, etc.) were there performing their stuff. There were also a few new ones (Rob Broadhurst, Mike Pettry, Ladystein, etc.). I was particularly struck by the very powerful song "Old Mr. Drew" by Michael R. Jackson. Here's a video from his recent show at ARS Nova:

Yeah - I pretty much fell out of my chair when Molly sang this at The Beech.

The opportunity to take in an Iconis show is becoming more and more available these days. You should check out Things To Ruin at The Zipper for a concert of Iconis tunes performed by some of the finest young talent around, on Broadway or off. Seriously. And if you're lookin' for a more musical theatre kind of venture, Urban Stages just announced the world premiere of Joe's newest mini-musical triple feature, ReWrite. I've said it before, and I'll say it again, see an Iconis show. You won't be disappointed.

And finally - a recent event to be totally stoked about: being able to officially utter the words President Elect Barack Obama.

Word.

Second Harry Potter and the Half-Blood Prince Trailer

2008-10-29T09:27:00.001-07:00

New Harry Potter and the Half-Blood Prince trailer is making its way around the Web...

Awesome!

600 Words + 600 Friends = [tos]some Video for 9pft

2008-10-28T07:25:00.000-07:00

There is so much craziness in my life between now and the end of November that once I get past it I might well refer to this month as "The Zombie Month" until the end of my days.

But I just needed to share this with you because it is so incredibly [tos]some:

For a complete list of everyone in order of appearance, please visit:
http://www.supertossers.com/9pft.htm

No Day But [tos]day

2008-10-05T07:10:00.000-07:00

A couple of weeks ago I spent virtually the entire weekend sitting at my computer doing an analysis for work. Basically, this particular weekend sucked the life out of me and I’ve only just now barely recovered, although I'm still reeling from my 8-year-old asking me why I have to work all the time.

Last week, while sitting in my temporary cubicle at the office, the colleagues for whom I prepared this analysis presented me with a gift bag that, among other things, included a $100 Amex gift card that I was instructed to use on myself.

So, what does that mean? It means that I am going to see [title of show] today. It means that today, the vampires will come just a little bit closer to death.

NYU Brings Tesori's Violet To Light

2008-10-04T07:31:00.000-07:00

Have you ever heard the cast recording for a show and fallen in love with it without ever having seen the fully-realized production or read the script? I think there is something very special about a musical that captures your devotion purely based on the music. Some of my most passionate musical love affairs have started this way: Hair and Merrily We Roll Along immediately come to mind. As do some lesser known gems like Iconis’ The Black Suits and Tesori's Violet.

Even though I have had to limit my intake of theatre in 2008, I did have the opportunity to see all four of these productions professionally staged. And good ol’ Thespis did me a favor, too, and smiled on the price tag: I saw all shows for the total ticket price of $60. Yes, boys and girls, you can see quality theatre on a budget!

Basically, if you take these four shows and throw in Bare and a couple plays you’ve got my fantasy directing roster in your hands. Despite (or perhaps because of) my deep affinity for these shows, I have somehow managed to avoid reviewing any of them. Fearful, I suppose, that my own personal vision might cloud my judgment.

This aforementioned avoidance, however, ends here.

Last weekend I had the opportunity to take in the NYU Steinhardt School’s production of Jeanine Tesori and Brian Crawley’s obscure Off-Broadway success Violet. Directed by NYU faculty wunderkind John Simpkins, this production is well-paced, deftly performed and visually exhilarating.

Based on Doris Betts’ novel, The Ugliest Pilgrim, this seldom-produced musical tells the tale of Violet’s journey to visit a faith healer in Oklahoma who she hopes will rid her of the disfiguring scar that she accidentally received from her father’s wayward axe. Along the way, she meets two soldiers who help her to understand the power of forgiveness, acceptance and the beauty we all hold within.

Set during the onset of the Civil Rights Movement, the story offers plenty of opportunity for poignant parallels between Violet’s isolation and that felt by African Americans during a volatile time in our country’s history. Violet also explores religious fanaticism and how the business of the church preys upon the faithful. In both instances, however, the book touches upon these moments all too topically and sometimes borders on the cliché. The dialogue in Violet serves primarily as a way to get from one song to another, which is where most of the storytelling is done.

Most theatre aficionados know Jeanine Tesori as the composer of Thoroughly Modern Millie or Caroline, or Change. These days, Ms. Tesori is working on bringing Dreamworks’ Shrek to the boards. However, it is through Violet’s Southern influenced score that I first got turned on to Tesori. The rousing “On My Way” is a cabaret favorite and the melodic “Lay Down Your Head” was recorded by the incomparable Audra McDonald on her solo album How Glory Goes. The music in this production is rich in gospel, country and blues flavors and, for me, that is music that is comfort food for the soul.

It is no secret that NYU breeds Broadway talent of the finest stock and the cast assembled by Mr. Simpkins only proves that fact. The ensemble of actors, which is comprised of Steinhardt Vocal Performance majors and Masters candidates, masterfully executes the rangy score under the musical direction of Stan Tucker, who also conducts.

In the title role, senior Caitlyn Caughell turns in a stunning performance. An Oklahoma native, she expertly slips into Violet’s country drawl and, despite the fact the scar is invisible to the audience’s eye, Ms Caughell makes you feel the pain of a scar that runs miles deep. The real treat, however, is when she sings and her voice fills the room. Whether sassy, robust or sweet, Ms. Caughell navigates each song with great skill and a big heart, particularly when she implores her father to look at her disfigured face in the aptly-titled “Look At Me”.

As the soldiers that accompany Violet on her journey, senior Gregory Williams (Flick) and junior Rich Krakowski (Monty) are as we want our leading men to be: strong yet gentle. Mr. Williams’ agile tenor voice brings down the house with “Let It Sing” and he delivers a moving performance in what I believe to be the most underwritten character in the play. Mr. Krakowski shines in “You’re Different” and when he implores Violet in “Promise Me, Violet” there is no question in your mind why she does.

The solid performance of senior Ryan Speakman as Violet’s father, the effervescence of junior Natalie Hinds as Young Vi and the sultry song stylings of junior Melanie Field as the Music Hall Singer/Mabel highlight what truly is a strong ensemble of actors with no weak link among them.

Simpkins’ direction and Jennifer Werner’s choreography guide the actors fluidly from scene to scene on a set that easily adapts to multiple locations. With the help of a few period style signs, some moveable furniture pieces and a woodshed, we easily "travel on" with Violet and her entourage. Most notable is the revolving wooden structure that serves as a mountain, a choir loft and a night club. I’ve seen several of Simpkins’ productions and once again he deftly uses levels, angles and multifunctional set pieces to conquer the challenge of musicals with multiple locales.

Violet is a gem that has been lovingly unearthed by NYU. And while she may be the wallflower when you’re looking at your dance card, taking Violet for a whirl at Frederick Loewe Theatre may just surprise you.

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NYU’s Violet runs September 26-27, and October 2-4 at 8:00pm and September 28 and October 5 at 3:00pm at the Frederick Loewe Theatre at 35 West 4th Street. Tickets are $20 general admission and $5 with valid NYU ID. For more information and to make ticket reservations, call (212) 998-5281.

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I Need A Little More Time...

2008-09-27T05:29:00.000-07:00

My schedule is complete madness right now. Of course, those of you who know me well know that my schedule is always madness. But sometimes there is a little more insanity than usual. This is one of those times.

Yesterday I had a wonderful, albeit brief, dinner with friends and then joined another group of friends downtown to see NYU's production of Violet. That would have been, of course, the optimal time to take in the matinee of [title of show] before it shutters on October 12th but my bank account, unfortunately, disagrees. I am hoping that Hunter, Jeff, Heidi and Susan's current campaign to save [tos] keeps it on the boards a little bit longer. If you haven't already done so, please sign the petition to get them on Ellen. You never know... If Ellen tells 999,000 people and those 999,000 tell 9 people...

Well, you do the math.

You Can't See Everything

2008-09-18T08:31:00.000-07:00

OK everyone, this economy is beginning to piss me off! Why? Because I can't afford to go to the theatre.

It angers and saddens me to hear and say these words. But it's true.

Despite the fact that all but one of the Broadway and Off-Broadway shows I've seen this year have been either heavily discounted, inexpensive (under $20), a gift or free, it is still a costly venture. When you figure in the price of getting into the City, parking and food, it can end up costing in the neighborhood of $100. Multiply that by a dozen shows and we're talking a significant chunk of change. Factor that in with the rising costs of gas, utilities and food and it's just not pretty.

Alicia's world with no theatre. Not pretty.

The other distressing effect this economy has is on the shows themselves. Several shows planned for the 2008-2009 season have been postponed or canceled, primarily due to issues of the money sort. Running shows have been taking the hit at the box office. This is the reason Rent closed. This is the reason I was not able to see Passing Strange before it closed. This is probably why I will not get to see [title of show] before it closes.

My bemoaning the fact that I had heard that [title of show] is papering heavily and is rumored to close very soon was met with this response from my husband: "You can't see everything."

So not pretty. I really wanted to tell Susan Blackwell that she is my hero.

Good thing we received an early anniversary gift from my father and will be seeing Equus in October. Because if I missed that it would get downright ugly.

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A Mamma Mia Oscar for Streep Is Doubtful

2008-09-15T09:50:00.001-07:00

For those of you who belong to the faction that feels Meryl Streep should receive an Oscar nomination for her portrayal of Donna Sheridan in the summer blockbuster Mamma Mia, I implore you to watch this.

Meryl Streep will assuredly garner a 2008 Oscar nod for her portayal of Sister Aloysius, the role for which Cherry Jones won the 2005 Best Actress Tony Award. While I would have preferred to see Cherry go head-to-head with Philip Seymour Hoffman, I am intrigued to see Streep's interpretation of the role.

And if Streep's portrayal of the flaky Donna Sheridan wins out over hard-nosed nun Sister Aloysius, you can expect to hear some loud protestations. And I mean loud!

Broadway's 2009 Season Continues to Beckon

2008-09-11T08:05:00.000-07:00

The ridiculousness of my schedule right now has me literally standing in a room, spinning in circles before pointing myself in the direction of the next project that needs my attention. Very frustrating. Because I have a LOT to write about but no time to do it in.

That said, I had to stop in for a minute because I could not let these two litle tidbits pass my ever-faithful readers by:

TIDBIT #1.

First, there has recently been a lot of hoopla about the closing night of Rent. This hoopla is justified because Rent has, in my opinion, valiantly earned its place in musical theatre history for so many reasons. You can pretty much Google "Rent closing night" and read any of the aforementioned hoopla but I was struck by a paragraph with Playbill.com's hoopla that made me quite happy:

[Kevin McCollum] opens West Side Story Dec. 16 in Washington D.C.'s National Theatre, where it was originally launched in 1957, and will open on Broadway "at a theatre we're going to name in about three weeks. When Arthur called and said, 'I think it should also be bilingual,' I said, 'Okay, I'm in.' Even though it's a revival, it's a fresh take. I'm excited about that. We're talking to Lin-Manuel Miranda about translating Sondheim into Spanish. He has met with Arthur. He's going to meet with Stephen. It's just a consult right now. We're just asking him to contribute ideas, and we'll see what happens.

I just saw In The Heights on Saturday night and, while West Side Story was already very much on my radar, it is now an even brighter beeping beacon with the involvement of the infectiously charming and talented Lin-Manuel Miranda.

(SIDENOTE: I really hope that I can spend a few minutes to do a review of In The Heights but if you reference Paragraph #1 you will see that it is not coming any time soon.)

TIDBIT #2.

It has been officially announced that The Public's production of Hair is officially making the move to Broadway in 2009. Given the play's subject matter, I find it quite ironic and telling that this announcement was officially made on September 11th. I've seen this production evolve from its concert version in September 2007 and the Central Park staging in August 2008 and I am very much looking forward to the Broadway revival.

Beads. Flowers. Freedom. Happiness.

Much happiness.

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Sorkin "Friended" By Facebook for Biopic

2008-08-30T07:39:00.000-07:00

Aaron Sorkin's newest writing project? A biopic about the creators of Facebook. Sorkin, a famed and sought after LA-based writer, has long had a fan in me. And I sure do love me some Facebook. Mark Zuckerberg, creator of the social networking phenomenon, has turned down billion-dollar offers in order to remain independent. The many ownership debates, Facebook's remarkable growth and its presence in the media certainly makes for some good film fodder. And Sorkin definitely has a gift for eloquently turning fodder into though-provoking entertainment.

Sorkin got his start writing for the stage and was quickly swept off to Hollywood where he has penned several successful and critically-acclaimed films. His screenplay writing credits include A Few Good Men, Malice, The American President and Charlie Wilson's War. Sorkin is probably best-known and most-loved for creating and acting as head writer for three very popular TV series: Studio 60, The West Wing and Sports Night.

Last year saw Sorkin returning to Broadway as the author of the very mediocre The Farnsworth Invention. As I stated in my review, it seems as though the producers (which included Steven Spielberg) could not decide if Farnsworth was a film or a play and made the wrong choice. Perhaps the forthcoming film Flash of Genius, which also tells the story of an inventor who gets the shaft, will work better.

In addition to the Facebook film, Sorkin has been tapped for The Trial of the Chicago 7 and the film adaptation of Stephen Sondheim's Follies. I have every confidence that Sorkin will deliver with a heavyhitting courtroom drama, as that is his sweet spot. I have reservations about how he will handle Follies. Hopefully he is more successful bringing stage to screen than he is trying to morph a screenplay to the stage.

=======================

Related Article: Aaron Sorkin To Write Facebook Film

=========================

Change Is Officially Imminent

2008-08-29T06:17:00.000-07:00

Barack Obama has accepted the Democratic nomination for President of the United States. It is time for change, folks! Click here to read the transcript of his speech or watch it on YouTube (Pt 1, Pt 2, Pt 3, Pt 4 and Pt 5).

Vote for change on November 4th!

Peace.

The Simpsons Intro in Live Action - 2 Cool!

2008-08-25T08:47:00.000-07:00

This video has amassed in excess of 2 million hits since it was added over 2 years ago. 2day, however, was the 1st time I saw it... And it was 2 good not 2 share! Enjoy!

Where The Wild (And Talented) Things Are: 92nd Street Y

2008-08-24T04:15:00.000-07:00

Oh, if only I could attend this little event up at the 92nd Street Y...

Several of the announced guests for this celebration/fundraiser are associated with the forthcoming film. This includes director Spike Jonze, Wild Thing Forest Whitaker, Catherine Keener and everyone's favorite Soprano James Gandolfini. Should that list not suffice, they've thrown in some Tony Kushner, Meryl Streep and Anika Noni Rose, among others, for good measure.

General sale tickets are sold out but benefit tickets to for special seats and a post-performance cocktail party are available by contacting Marissa Carty at 212-415-5488 or by e-mail. Funds are donated to Y-sponsored Education Outreach Intiatives that serve 8,000 kids each year.

That's a good thing folks. So if you'll be in NYC on September 15th, if you've got the cash for those special seats and want to part of something cool, I'm thinking this event will qualify.

Incidentally, the Warner Brothers film just wrapped an expensive reshoot in June and is listed on IMDb as being in post-production. A 2009 release date is anticipated though nothing definitive has been released from the studio since mid-July. I respect the fact that the studio is willing to invest time and money in order to give this classic story the artistic attention and integrity it deserves.

I, for one, can't wait...

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RELATED ARTICLES:

Warner Brothers' President Updates Where The Wild Things Are Progress

Kushner, Streep, Rose and More Will Celebrate Sendak at the 92nd Street Y

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Ethics of Reciprocity In Hollywood?

2008-08-19T08:24:00.000-07:00

Call it what you will: karma, the Golden Rule or simply what comes around goes around. Whatever you call it, it is nice to see some of Hollywood's finest realize that it is there but for the grace of God and to take a moment to do unto Matilda.

Johnny Depp, Colin Farrell and Jude Law have reportedly donated salaries received for completing The Imaginarium of Dr. Parnassus to Heath Ledger's daughter, Matilda. Ledger was in the middle of filming Dr. Parnassus when he died of an accidental overdose in January 2008. Following his death, the three actors stepped into Ledger's role so that the film could be completed.

Kudos for a classy move, guys!

Never Neverland (Fly Away)

2008-08-17T05:01:00.000-07:00

Well, it has been a month now since Peter Pan has closed. The project was a lot of work but it was also exceedingly rewarding. I believe we brought a good production to the community on a shoestring budget and exposed many kids and families to the wonderment of producing theatre. If we accomplished nothing else, it was that.

But we did accomplish more... In previous posts I have also mentioned The Heart Gallery exhibit that was being displayed in the theatre's Geissinger Annex Gallery during the run of Peter Pan. Every night after the show we would gather in the Annex among the faces of over 30 children searching for permanent homes through adoption. Words cannot express the feelings experienced when I learned that 4 of the children from that exhibit have now been placed in homes. Indeed, a little fairy dust was sprinkled on our unassuming theatre in Brookfield. And it is because of moments like that in life that I do believe.

So, I have left Neverland behind and have pointed my compass in the direction of Concord, NH. Beginning in September, I will be spending a few months at TBTA with Jo March and about as much estrogen as one show can muster. In many ways, Little Women will be the polar opposite of the musical about the boy who would not grow up. This is definitely a journey that I am eager to begin.

Beyond September, plans are in the works and announcements are forthcoming... So stay tuned.

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"Never Neverland (Fly Away)" from Dreaming Wide Awake by Scott Alan

www.shrekthemusical.com

2008-08-15T04:46:00.000-07:00

Obama, Iconis & Sondheim

2008-08-13T04:33:00.000-07:00

Wait! Barack Obama listens to Joe Iconis? When asked about late-period musical theatre, Obama replied thusly:

Despite the emergence of the Brown-Lippa-LaChiusa triptych and younger, DIY voices like Lopez/Marx and Joe Iconis and in the post-Larson era, no one writing today even approaches the emotional depth, harmonic complexity and the spiritual clarity evident in the work of the still-living legend Stephen Sondheim. Maybe Adam Guettel, but he supports drilling.

Of course, I think it is a bit unfair and premature to compare Joe Iconis to America's most revered living musical theatre composer, who happens to be 50 years Iconis' senior. I also have a hard time believing that Obama is rocking out to Iconis on his iPod... I'm just saying.

And since we're speaking of Sondheim...

FINALLY - some casting news for the much-anticipated revival of West Side Story: Matt Cavenaugh (A Catered Affair, Grey Gardens) will play the coveted role of Tony, a move guaranteed to catapult him to Broadway superstardom. The remaining casting decisions remain a mystery but, with a February opening, I suspect they will be announced soon.

The WSS announcement comes directly on the heels of The Public Theater announcing the Off-Broadway run of Sondheim's Road Show. The musical, whose previous incarnation under the title of Bounce, will be directed by Sondheim's staple director of late John Doyle. The production will star Michael Cerveris and Alexander Gemignani.

And in more solemn Sondheim news, George Furth, the librettist for Company and Merrily We Roll Along, passed away at the age of 75. Merrily is one of my favorite Sondheim musicals, one that is also rumored for revival. Strangely enough, in my quest to find a composer for my musical project, I received a resume from someone who recently worked with George and cited him as one of his references. Perhaps this is a sign. And you know how I am about signs...

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Related Article: Barack Obama and John McCain Weigh In On Pop Culture
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A Little Toast with Jam-boree

2008-08-08T08:48:00.000-07:00

As usual, Iconis and his merry band of troubadours kicked some major ass at Joe's Pub this past Monday night. Take a gander at some highlights from the evening...

"The Whiskey Song" featuring Matt Hinkley, Lance Rubin, Joe Iconis & Jason "Sweet Tooth" Williams

"The Answer" from The Black Suits performed by Krysta Rodriguez

"Vagabond" performed by Matt Hinkley

"Sorta Kinda Not So Bad" from The Plant That Ate Dirty Socks with Lance Rubin & Jason "Sweet Tooth" Williams

"The Song" performed by Joe Iconis

"Helen's In Skin Flicks Now" performed by Jason "Sweet Tooth" Williams

"The Bar Song" featuring Jason "Sweet Tooth" Williams, Joe Iconis, Matt Hinkley and Lance Rubin

"The Goodbye Song" performed by John Gallagher, Jr.

"Penny Dreadfuls" featuring Jason "Sweet Tooth" Williams, Lance Rubin, Joe Iconis and Matt Hinkley

Crazy Talented Cheyenne

2008-08-07T09:46:00.000-07:00

How amazing is it to be Seth Rudetsky and constantly be around people as sick with talent as this? I'm guessing pretty fucking amazing.

August: Osage County Inches Closer To The Silver Screen

2008-08-06T07:13:00.000-07:00

Tracy Letts' stellar ensemble play, which already boasts the Pulitzer and five Tonys, is getting closer to what will undoubtedly be a few Oscars.

According to Variety, Doumanian Productions and Steve Traxler, the Broadway production's lead producers, will executive produce the cinematic incarnation of dysfunctional tour-de-force written by Steppenwolf playwright Tracy Letts. No budget, schedule or cast has been set but every time a Hollywood A-list actor goes to see August: Osage County, rumors certainly fly. In fact, theatre bloggers have made great sport of predicting which Tinsel Town luminaries they'd like to see bring the Weston family to the big screen.

I realize that several of the original cast will have had the opportunity to perform this masterpiece in London and perhaps on the US tour. I also understand the allure that some of the best written roles in contemporary theatre hold for established film actors. But please, God, please, let the Steppenwolf actors have the opportunity to immortalize their brilliant performances for the public at large. A broader audience deserves to see those performances.

And I did say please.

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Click here to play casting agent for August: Osage County in the Fantasy Casting poll.

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The Dempster Girls Take In The Plants That Ate Dirty Socks

2008-08-04T10:38:00.000-07:00

So apparently the most popular keywords currently driving traffic to my blog are (1) related to reviews of Joe Iconis' The Plant That Ate Dirty Socks or (2) my maiden name.

Well who am I to disappoint?

If you are searching under my maiden name, you probably know me from my college years or before. A lot has changed since then. I am now Alicia Dempster. Google that. Or friend me on Facebook.

Also, as it would happen, on a rainy Sunday afternoon last week my three daughters and I took the train to the City to see Plant, the second of the two fully-realized Iconis shows produced this summer. And, since it is what my readers want, I will write a review.

In its 20th season of offering free theatre to children, TheatreworksUSA's production of The Plant That Ate Dirty Socks continues the tradition of providing literature-based musicals featuring some of theatre's most promising talent. Iconis' one-hour family friendly rock musical is currently in production at the Lucille Lortel Theatre and is based on the first installment of Nancy McArthur's popular book series from the late 80s. A less-gory spin on another rock musical, Little Shop of Horrors, it is the story of two very different brothers who find common ground in their unusual plants.

Many of the titles in Joe's songbook are for mature audiences only, so several tracks get skipped when we're listening to Mommy's Iconis CD in the car. My girls have, however, heard "Plants Make Wonderful Pets" enough times that they were humming it well before they saw the show. In fact, we even incorporated the book into storytime, so they were aptly primed for our journey to see the musical adaptation.

Iconis' pulsating rock score and clever lyrics are appealing to both the primary audience for which they are intended and the parents seated at their side. Most notable are the jaunty and catchy "Plants Make Wonderful Pets" and "Welcome To My Room", although the one that my girls now keep screaming around the house is "I Saw It Suck Up A Sock!" Some of Iconis' best songs, in my opinion, are the ones with lilting melodies and simple sentiment, thus making "Sorta Kinda Not So Bad" my personal favorite (hey, I'm a sentimentalist).

Iconis' book solidly retells McArthur's story with only minor variances from the less-than-complex chapter book. Most of the changes, I presume, were made to keep the cast size small and its run-time under an hour thus increasing its tour appeal. While children's theatre may not be the genre one would dub as being in Iconis' comfort zone, he has certainly risen to the task with an infectious and entertaining production.

The at-odds brothers, portrayed by Jason "Sweet Tooth" Williams and Lance Rubin, are energetic and endearing. Williams is wide-eyed and soulful as big brother Michael, a perfect compliment to Rubin's dorky yet comical Norman. Both manage the various song styles with the vocal power necessary to handle a loud, rock score but lend just the right amount of heart to ballads like the aforementioned "Sorta Kinda Not So Bad".

As the meddling neighbor kids, Lauren Marcus and Jeffery Omura have the opportunity to show off their pipes in their featured number, "Talk of the Town." Marcus is spirited and nasty as nosy-cheerleader-with-a-dark-side Patty Jenkins. Her bulldog scene with Lisitza is classic and, despite her tantrums, her character was a favorite with my girls. Doubling as egomanical 7th grade pal Jason and ratings-hungry telejournalist McKenzie, Jeffrey Omura creates characters that are appropriately loathesome. He also has 15 seconds in "Welcome To My Room" as the Mailman that delivers the mysterious sock-eating plant seeds. My eldest daughter was deeply concerned that he was not credited for this role in the Playbill. I believe she may have a future as an agent.

Lorinda Lisitza and Kilty Reidy play the boys' far-too-accomodating parents with cartoon character perfection. Since most of the songs are relegated to the kids characters, the only time we really got to hear Lorinda wail is during the riotous "Talk of the Town". But wail she does. For more wailing, click here. Lisitza and Reidy also show up at the science fair to chew the scenery a bit as Sanjay and the Judge respectively.

The eponymous plants are the brainchild of puppeteer designer Eric Wright and are manipulated by puppeteer Michael Shupbach. While I did see some kids hiding their eyes during the sock-slurping scenes, the plants are truly lovable, as is witnessed in a cute and humorous scene between Michael and his plant Stanley.

No strangers to Iconis material, director John Simpkins and choreographer Jennifer Werner stage a tight production. Michael Schweikardt's colorful set deftly set the stage, whether it is the boy's bedroom or the cafegymitorium, and it is highlighted by Tracy Christensen's youthful costumes and Chris Dallos' lighting design.

While I personally prefer my Iconis a little bloodier, Plant is a great introduction to the brilliantly damaged mind of Joe Iconis. I had a great afternoon at the theatre with my girls and, with all due to respect to the folks over at CityCenter, they said they liked it better than Damn Yankees.

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The Plant That Ate Dirty Socks runs at the Lucille Lortell Theater in New York until August 22nd. For information, visit http://www.theatreworksusa.org/.

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A Career Change?

2008-08-03T09:44:00.000-07:00

Half-Blood Prince vs. Half-Baked Stableboy

2008-07-30T08:42:00.000-07:00

Not sure which Daniel Radcliffe project I'm looking forward to more...

Or...

I just know that I'm really looking forward to both of them. A lot.

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City Center Scores with Damn Yankees

2008-07-27T17:24:00.000-07:00

There are some musicals that stand the test of time and therefore, I suppose, are called classic. The classic musical comedy Damn Yankees has been once revived on Broadway and yesterday ended its three week run as part of NY City Center Encores! Summer Stars series. I must say, of the many old school musicals that I've grown (sometimes kicking and screaming) to appreciate, this is one that I actually like.

My first introduction to Damn Yankees was via the 1958 film starring Ray Walston and Gwen Verdon, who both received the 1956 Tony for their peformances in the Broadway production. Even as a tween, before I had the good sense to revere Bob Fosse for the genius that he is, I fell in love with the choreography. By the time Broadway got around to reviving it in 1994, I was well-versed with Fosse's body of work and I was anxious to see the show staged.

The revival did not disappoint. I saw it twice - the first time with Victor Garber and Bebe Neuwirth and the second with their successors Jerry Lewis and Charlotte d'Amboise. Victor and Bebe were great, Jerry and Charlotte not so much. But despite his scenery gnawing and her bland performance, I still enjoyed it the second time around.

A couple of years ago, I stage managed a production of Damn Yankees. These days, stage managing is something I rarely do. However, if it is a show I really like or it gives me the opportunity to work with specific directors, I will dust off my stage manager's kit and take on the task. In this instance, both criteria applied.

When word hit the streets that Sean Hayes and Jane Krakowski would be headlining in Damn Yankees at NY City Center, I rung up the director of the aforementioned production and an outing was planned. Uncle Brad, as many affectionately call my director friend, is someone whose work and creative mind commands my deepest respect. Being able to see the show with my husband and kids and then being able to deconstruct it with Uncle Brad was a delight in and of itself. The fact that it was a stellar production was simply the icing on the cake of an already great experience.

Sean Hayes, of course, is noted for his Emmy winning turn as Jack McFarland on the hit sitcom Will & Grace. His New York theatre debut as Mr. Applegate has certainly proven the actor worthy of a Broadway run some time in the future. Musical comedy is a genre he is unsurprisingly suited for and a transfer of Damn Yankees, much in the vain of City Center's Gypsy, would not surprise me (although it has not, as yet, been rumored).

Hayes is a solid actor and he used just the right dose of Jackisms in his Applegate. The hissy fits that we loved in Jack are perfectly suited for those had by Applegate. In this production it worked to crowd-pleasing effect. Hayes also proved himself vocally strong in his self-accompanied showstopping number "Those Were The Good Old Days". After an appreciative fan whistled from the crowd, Hayes, a classically trained pianist, took a beat, leaned out and whispered: "I'm really playing." And he was. To an audience that was loving every minute of it.

I've long been a fan of Jane Krakowski's and was pleased to see her team up with Hayes to take on the Herculean task of filling the role that was immortalized by Gwen Verdon. Jane's got some formidable vocal chops and comic skills - which I've known since her Ally McBeal days. Known most recently from her role as Jenna Maroney on 30 Rock, Krakowski is a decent enough dancer but I felt there was something off during her big dance numbers. During intermission, Uncle Brad told me that Fosse choreographed very distinctly for the body and that nowadays dancers are so waifish that some of it just doesn't work. Gwen Verdon had a little meat on her bones, so when she was jiggling and grinding it just suited her better (and I mean that in the nicest of ways). I would have to say that I agree with Uncle Brad on this one. Man that bastard is smart.

The below-the-title actors were no hacks either: Cheyenne Jackson, Randy Graff, Megan Gallagher (who replaced the injured Ana Gasteyer), Veanne Cox and Michael Mulheren. Not a bad supporting cast, eh?

Cheyenne Jackson was an amiable Young Joe Hardy and it was nice to see him have the opportunity to work with Krakowski (who vacated the role of Kira/Clio in Xanadu after her sitcom got picked up). He has a kick ass voice, is not a bad dancer and undeniably easy to look at (many in our party agreed that spending a little more time in his undershorts during the locker scene would have been all right with us).

Tony winner Randy Graff brings the right amount of heartbreak and devotion to Meg, the wife that's been left behind during his stint as a Washington Senators champion. Megan Gallagher's nosy reporter Gloria Thorpe lacked the necessary spunk that role needs to be endearing. Veanne Cox was perfection as Sister and Michael Mulheren's Coach Vanburen led the well-known "Heart" number to enthusiastic response. Veanne and Michael, however, shone the brightest at the stage door after the show.

My girls know Veanne from Disney's remake of Rodgers & Hammerstein's Cinderella, in which she played one of Cinderella's stepsisters. My eldest told me later that when she met Veanne she felt like she was meeting a movie star! My husband and I mentioned how we had seen Cinderella many times and how much we loved it. Veanne was very appreciative of the permanence of film and at the same time a bit nostalgic about the fleetingness of theatre. She did affirm one of my pillar convictions: the importance of bringing children to theatre so that this art form does not die. She was definitely a cool chiquita banana!

Michael Mulheren also took the time to chat with the girls about the show and asked them where they were from. When they replied, he just looked at them and said, "Danbury! I've worked there!" And indeed he had... Apparently he did Pirates of Penzance at Candlewood Playhouse with my friend Kevin. Oh the theatre and its players comprise a small world indeed!

Having now seen professional productions of both the original and revival scripts of Damn Yankees, I have to say that there were things from the revival that I missed. I like the "Blooper Ballet" as a way of introducing the Washington Senators "in action". And, like my friend Brad, I prefer "Heart" to be sung by ALL of the ball players instead of just VanBuren and the Quartet. Finally, while I enjoyed seeing Fosse's beatnicky choreography performed by Jackson and Krakowski in "Two Lost Souls", I prefer that number to be performed by Applegate and Lola. It gives Applegate another song in the show (which I would have liked to have seen) and it allows Joe Hardy to maintain his devotion to Meg by eliminating the kiss between him and Lola.

Both versions of the musical, however, have the same strong story at its core. It is the story where good triumphs over evil, where the underdog team wins the prize and the boy gets the girl. Throw in a good Republican joke, a seductress in her underwear and a Fosse jig and you've got an All-American musical sure to please for years to come!

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Related Articles:

New York Times: Selling His Soul For The Part
New York Daily News: Damn Yankees Had Some Great Runs
Playbill.com: Bottom of the Ninth: Damn Yankees Ends City Center Run July 27
New York Newsday Review: Damn Yankees At City Center Encores!

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More Movie Musicals On The Horizon

2008-07-24T08:52:00.000-07:00

It seems the movie musical's resurgence in popularity has everyone in Hollyood scrambling...

I'm not sure which has me cringing more: John Waters writing the sequel to the movie musical Hairspray (with an eye on the cast of the 2007 film to reprise their roles) or Emma Thompson authoring the screenplay for the remake of the Lerner and Loewe classic My Fair Lady.

Meanwhile MTV is planning to revamp Rocky Horror Picture Show and Kenny Ortega is bringing Footloose back to the movie houses. It should be interesting to see how the Broadway incarnations of those films impact the remakes...

And over at Universal, Marc Platt is planning the film remake of Jesus Christ Superstar and Wicked's move to the silver screen (which, if you ask me, will ultimately be the one to beat).

In case you were wondering, I am still on the fence as to whether or not this movie musical mania is madness or euphoria.

UPDATE: I neglected to mentioned the upcoming film of Sondheim's Follies, which has Aaron Sorkin in the unenviable position of adapting. And, of course, there is movie musical wiz Rob Marshall's adaptation of Nine.

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Related Articles:

John Waters to Pen Sequel to Hairspray Movie Musical

Academy Award Winner Thompson to Pen Screenplay for "My Fair Lady" Remake

MTV Plans Remake of The Rocky Horror Picture Show

Wicked Film and Jesus Christ Superstar Remake on Platt's Plate

A Life-Changing Revelation

2008-07-22T07:49:00.001-07:00

Today I realized why the rewrite of Harvest Home has taken almost 3 1/2 years... Because it was meant to be a musical, not a screenplay.

All the signs were there... How can I have been so obtuse?

Plugging In To The Battery's Down

2008-07-18T05:07:00.000-07:00

I have a new theatre geek addiction. Sometimes, and this is one of those times, you feel the need to share. It is called The Battery's Down. It is hil-FREAKIN'-larious! And if you're a theatre person, especially of the acting variety, you'll love it!

I had heard about it when it launched back in February (yes, I know, I'm late jumping on the bandwagon). Knowing it was up my alley, I kept meaning to watch it but had never gotten around to it. In Episode 6, however, a friend of mine had a cameo so I finally dragged my lazy fingers over the keyboard to type: www.thebatterysdown.com to finally check it out.

Lovable, guy-next-door actor Jake Wilson has created an online series in the vain of [title of show] and Cubby Bernstein in which he details the trials and tribulations of the young New York actor. Featuring viral marketing veterans Cheyenne Jackson and Jonathan Groff, among others, the series is a great showcase for some of musical theatre's brightest up and coming talent.

The multitalented Wilson directs, choreographs, writes and stars in the series and has assembled an excellent supporting cast, including a few fellow University of Michigan alums. The music, both clever and catchy, features the work of Pasek & Paul, Salzman & Cunningham and Ryan Scott Oliver. My favorite, so far, is Oliver & Guenther's "This Is Your Life", which is a sort of theatrical "La Vie Boheme". A close runner-up is Salzman & Cunningham's "You Should Be In That", featured in Episode 3. Oh, yes, I've had conversations that were frightening similar to the one featured in this song... I suppose most theatre folks have.

So if you're in need of a quick 20 minute dose of clever comedy targeted to musical theatre types, head on over to the show's Web site or check it out on YouTube. You'll laugh your leg warmers off!

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http://www.thebatterysdown.com/

The Battery's Down on YouTube

Episodes are released on the first day of each month at 12:01am.

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The Summer of Iconis Continues @ Theatreworks USA

2008-07-16T11:57:00.000-07:00

Ummm... Go see this. Why? Because it's free. Because Matt Lauer is Honorary Chair. Because it gets children to the theatre. Because it has some wickedly talented people in it.

And because the music, lyrics and book are by Joe Iconis. DUH! I've only been telling you about him forever. I don't understand why you haven't been to one of his shows yet. And this, my friend, is the perfect opportunity to get to one! This free offering by Theatreworks USA is a palatable little nibble of Iconis that will definitely leave you craving more.

The Plant That Ate Dirty Socks is based on a series of children's books by Nancy McArthur about a plant that eats... well... socks. In preparation for our family outing to NYC, I've actually been reading the book with my girls. We're only on Chapter 9 but it essentially seems to be a less gory version of Little Shop of Horrors. It is definitely a charming way to introduce kids to (1) musical theatre and (2) Joe Iconis. This morning, whilst looking at the book cover, my eldest was actually singing from the show. Yes, I've taught her well!

But maybe sock-eating plants are not your thing. For those that prefer their Iconis bloodier (and with a cocktail), go see this:

Or this:

You will not be disappointed. And you will thank me.

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Ticket Info:

Plant That Ate Dirty Socks at Theatreworks USA

Joe Iconis and Friends at Laurie Beechman

Joe Iconis Rock and Roll Jamboree at Joe's Pub

Whoopi Joins Xanadu for Month of August

2008-07-14T08:09:00.000-07:00

Just announced on The View...

For the month of August, Whoopi Goldberg will be covering the role of Calliope/Aphrodite in the award-winning cult musical Xanadu. Mary Testa, who plays the role of Melpomene/Medusa, appeared on the talk show and announced that Whoopi will be playing her conniving counterpart next month.

I love Whoopi! And I'm hoping that her stint at the Helen Hayes will bring more people to see this charming musical comedy that makes virtually all who see it an unexpected fan of the show.

My husband has mentioned several times that he would like to see (1) Xanadu and (2) her on stage (I saw her in Forum). Perhaps we can work it into our already crammed schedule. But even if we can't... you should!

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Whoopi Goldberg will be featured in Xanadu from July 29th thru September 7th, 2008.
Tickets: http://www.telecharge.com/behindTheCurtain.aspx

Official Website: http://xanaduonbroadway.com/

Summer Crowds Passing By Passing Strange

2008-07-09T07:28:00.001-07:00

OK - so I'm a little bit of a loser because I haven't seen Passing Strange yet. I purchased the soundtrack on the day it was released and it is currently in heavy rotation on my playlists. However, I've not yet made it to the Belasco. Stupid girl! *she whacks herself on the head with her wireless mouse*

It seems, with 38% attendance, the inevitable is looming. I'm really hoping it hangs on a few more weeks (or months)... Despite the fact the show has received awards and critical acclaim, I'm afraid it has not received the much needed boost in attendance to get through the dog days of summer. Most other shows are playing at 85% and above, so it's looking bleak for Stew and his groundbreaking musical.

Fortunately, Spike Lee is set to film two live performances and one closed performance, so if I don't see it while its running on Broadway at least I will see it through the eyes of someone who is both a talented filmmaker and a fan of the show.

But I'm hoping that it sticks around a little longer because I'd rather deal with the real... for real.

Tesori's Violet Headed to NYU's Stage

2008-07-08T17:59:00.000-07:00

This past Sunday, I attended the final performance of Joe Iconis' The Black Suits at SPF/The Public (full-throttle review is forthcoming). As if the sheer excitation of being at a fully realized Iconis production wasn't enough, I was thrilled to see this little bit of information tacked on to the end of John Simpkins' bio:

Violet is a wonderful, obscure little show written by Jeanine Tesori (Thoroughly Modern Millie, Caroline, or Change and Shrek). I've been a fan of Violet for several years and am over the moon that it will be directed, no doubt with great aplomb, at NYU next year.

Simpkins, who seems to be exclusively at the helm of Iconis' shows, is someone whose work I was introduced to in the summer of 2006 before I ever heard the name Iconis. When it comes to selecting directing projects, I don't think a more like-minded person exists. The primary difference, of course, if that NYU actually produces them whilst I am relegated to directing shows considered safe for community theatres. But that is a lament for another day...

In the meantime, as I bemoan the plight of community theatre, I'll await the onsale date for NYU's Violet. I will also keep my fingers crossed for the announcement that John will continue the trend of directing shows from my short list by including Bare in Steinhardt's 2009-2010 academic year.

TBTA's Peter Pan Opens Tonight

2008-07-04T06:27:00.000-07:00

Recently there have been some lovely articles written about our production in the local papers. As I wrote previously, our theatre is hosting The Heart Gallery in its exhibit space during the run of Peter Pan. In fact, last week DCF hosted a reception recognizing some families that have been touched by adoption. TBTA's former artistic director Bart Geissinger, who selected Peter Pan for this season, spoke with his son about how adoption has touched their lives:

Following Bart's presentation, my husband and I rushed to New Milford Hospital just before my brother-in-law's wife delivered our first nephew. Needless to say, it was an emotional evening.

The next day the cast, crew and their families enjoyed a Sitzprobe & Potluck in preparation for Peter Pan's tech week. As I sat there watching everyone mill about I was struck by something I've been noticing a lot lately: the word family can mean so many things.

The next day I was at the theatre working on the set. I was there by myself and a woman popped her head in the theatre and told me that she had been calling and calling. Initially, I thought that she was talking about getting tickets for the show. Then I realized that she had been calling to make an appointment to see the photography exhibit. I walked her over to the gallery space and we talked briefly about the adoption of her daughter. She then told me about how she was feeling it was time for a sibling when she saw the article in the paper. I told her to take her time and indicated the cards on the table with details about each child featured in the exhibit.

I returned to the stage and continued to build the window pane through which Peter Pan flies into the Darling nursery. About five minutes passed and the woman returned to let me know she was leaving. She thanked me and waved the cards she held in her hand: "I've got five cards here!"

Yes, indeed, the word family can mean so many things.

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Peter Pan opens tonight at The Brookfield Theatre for the Arts. Performances are July 4, 5, 11, 12, 18 and 19 at 8:00pm and July 13 at 2:00pm. All tickets are $20. Call 203-775-0023 for reservations.

O Sondheim, Where Art Thou?

2008-06-18T08:30:00.000-07:00

What an embarassing oversight to not notify the winner of the Lifetime Achievement Award prior to announcing it in the press... Click on Mandy to get the full scoop from Michael Riedel.

LOST Season 4 Finale: There’s No Place Like Home, Parts 2 & 3

2008-05-31T09:36:00.000-07:00

** SPOILER ALERT ** SPOILER ALERT ** SPOILER ALERT **

Holy Mother, how I love this show! At the risk of sounding repetitive, if you are not familiar with LOST or you gave up on it, I urge you to give it a try or try it again. Last year’s finale gave us our first taste of a flash-forward. Incorporating that facet allowed the writers to create a whole new world of missing pieces that served the story well in Season 4.

In true LOST fashion, we have been left with as many unanswered questions and we have answered. The most burning, without doubt, is who was in the coffin. Well, to that we indeed have an answer. It is Jeremy Bentham.

What?!? Who?!?

Oh…! You mean John Locke! I did notice that in the future we are silenced if we utter that name aloud. And, by the way, we now refer to him as Jeremy Bentham. I guess it’s a better alias than “He Who Must Not Be Named”… Again, LOST has introduced a moniker associated ith an historical thought leader. In this case, a social reformer known for his support of utilitarianism, the ethics theory based upon the idea that the ends justify the means. I can definitely see this philosophy aligning with John Locke’s faith-based ideals and it makes me anticipate the appearance of future Locke all the more.

So, since I’ve already opened up the can of worms, here are some of the episode’s most memorable moments (which is really the entire episode):

On The Island

LOCKE TELLS JACK HE’LL HAVE TO LIE ABOUT THE ISLAND: Locke tries to convince Jack to stay on the island. To believe in the power of the island and its ability to perform miracles. He tells him that he will see what he and Ben are about to do and then he will believe in miracles.
MILES REVEALS CHARLOTTE’S CONNECTION TO THE ISLAND: As the survivors, scientists and Juliet prepare to evacuate the island, Miles asks Charlotte why she is so eager to leave when she fought so hard to get back. Remember, Miles has that “I can read your mind” spiritualist thing going on… Later, Charlotte changes her mind. As she sweetly says her goodbyes to Daniel, she tells him that she wants to discover where she was born.
BEN KILLS KEAMY AND TRIGGERS THE C4 DETONATOR: Keamy, who was conincidentally wearing a bullet-proof vest when he was shot and left for dead, creeps down to the control center of the Dharma Initiative’s Orchid Station to tell Ben and Locke that his heartbeat controls the switch connected to all that C4 on the freighter… He then goes into explicit detail about how Ben’s daughter bled to death after he shot her. Ben goes completely psycho and kills Keamy, despite the knowlege that it would detonate the explosives on the freighter. He really is a cold-blooded bastard. And we sure feel it when he utters that one simple word after Locke reminds him of all of the people on the freighter: “So.”
SAWYER WHISPERS IN KATE’S EAR, KISSES HER DEADLY AND JUMPS OUT OF THE HELICOPTER: Following the gunfire on the island, Lapidus, Jack, Kate, Sayid, Sawyer and Hurley climb aboard the chopper to make their much-anticipated escape from the island. En route to the freighter, they discover that bullets have pierced the gas tank and they are rapidly losing fuel. Lapidus tells everyone to unload any unnecessary weight – after unloading tool boxes and equipment, Frank says he’d feel a whole lot better if they could get another 200 pounds off the chopper. The pained expression on Hurley’s face speaks volumes. In a swift heroic action, Sawyer whispers to Kate. She looks at him and asks him why he is telling her this. His response is one last passionate kiss and a final plea of “Just do it, Freckles”. I guess this is the promise that she is attempting to keep in “Something Nice Back Home.” Sawyer then leaps from the helicopter into the sea. A leap of faith, if you will, because where does he swim to? You guessed it… La Isla Bonita!
UBER ACTION-SEQUENCE: Meanwhile, back on the freighter, Michael, Jin and Desmond try desperately to freeze the battery in an effort to disable its charge. They hold the charge back just long enough for Desmond to scurry to the deck to warn the landing helicopter that there is a bomb. Frank lands for a quick refuel and tank patch, while Desmond, Sun and Aaron board the chopper. Kate runs to get Jin, is told there is no time and reboards the helicopter. Michael tells Jin to get on the chopper with Sun because he is now a father. Jin thanks Michael and runs to the deck. Jin climbs onto the deck, frantically waving his hands at the departing aircraft as Sun screams at Frank to go back. As the detonator ticks away, Christian Shephard appears behind the pile of C4 and tells Michael, “You can go now.” And the freighter goes BOOM!
BEN SAYS GOODBYE: Ben creates another explosion in the vault of the Orchid Station, which opens a portal beneath the Orchid Station. After changing into his cold-weather gear (which he is wearing when he awakens in the desert in "The Shape Of Things To Come"), Ben bequeaths The Others to Locke, urging him not to make the mistakes that he has made. When John tells Ben that he is going with him, Ben explains that he is the only one that knows how to move the island and with that knowledge comes a price. The person who moves the island can never come back. He apologizes for his transgressions against John, shakes his hand and descends into the frozen catacombs beneath the station. Upon reaching the ice-encrusted wheel, Ben looks to the heavens and says, “I hope you’re happy now, Jacob!” He slowly moves the wheel, knowing that each step brings him closer to his departure from the island, an act that is as emotionally difficult for him as it is physically challenging. Meanwhile, above ground, Locke makes his way to the Others’ camp where Richard greets him: “Welcome home, John.”
THE ISLAND DISAPPEARS: As Juliet sits on the shore of the island, nursing a bottle of Dharma Initiative rum, Sawyer swims ashore. Juliet points to the burning wreckage of the freighter on the horizon as an other-worldly humming sound and bright light grow in strength around them. The passengers on the helicopter, which is en route to the island, also hear the deafening noise and see the blinding light. Moments later, the island is sucked into the sea before their eyes. With nowhere to land and an empty fuel tank, they prepare for an emergency landing. Sayid throws the raft overboard and everyone, including the baby, makes it aboard. As the survivors float beneath the night sky, Kate observes that Aaron’s survival of the crash was a miracle. Hurley’s awe at Locke’s ability to move the island is quickly dashed by Jack’s dismissal of it. When Frank notices a search light in the distance, Jack quickly tells everyone that they will have to lie. About everything. It is the only way to protect the island and the people on it. Does that mean that our resident man of science has had a change of heart about miracles? Perhaps.
THE OCEANIC SIX: As the boat pulls up alongside the raft, Desmond spots Penny on the deck. He bounds aboard the boat and plants one on his lost love with whom he is now reunited. Afterward, a plan is devised to throw the Oceanic 815 survivors back into the raft and point them in the direction of the inhabited island of Sumba where they are discovered as the Oceanic 6 and brought home. Desmond stays behind, vowing never to leave Penny’s side again, and Frank, who is not an Oceanic 815 survivor, stays behind as well. When Jack says goodbye to Desmond, he shakes his hand and says, “See you in another life, brother.” Something tells me that he will…

And A Whole Bunch of People Visiting Other People In The Future

WALT VISITS HURLEY: Walt shows up at Santa Rosa Mental Health Institute. He tells Hurley that he was surprised that nobody came to visit him after they returned from the island. He does, however, tell him that he received a visit from Jeremy Bentham and wonders why Hurley and the others are lying. Hurley echoes Jack’s rationale of protecting the island and those that have been left behind.
CLAIRE VISITS KATE: In the middle of the night, Kate is awakened by a phone call. She hears a sound, instantly assumes her Rambo-like persona, grabs a gun from her closet and runs to the nursery. She sees a figure looming over Aaron and screams not to touch her son. The light reveals Claire, who begs Kate not to bring Aaron back to the island.
SAYID VISITS HURLEY: Sayid breaks into Santa Rosa after visiting hours and urges Hurley to come with him, not to the island but to “somewhere safe”. He does not elaborate but merely tells Hurley that he is being watched and that he needs to going somewhere safer.
SUN VISITS WIDMORE: In London, Sun, who has taken controlling interest in her father’s company, approaches Charles Widmore, stating that they have common interests. She tells him that she knows that he is aware of her connection with Oceanic 815 and reminds him that the survivors were not the only ones who left the island.
BEN VISITS JACK: Unsuccessful at convincing Kate to return to the island, Jack, still drunk and high, breaks into the funeral parlor where Jeremy Bentham’s deceased body awaits release. Ben, who has been lurking in a dark corner, confronts Jack and tells him that he has some ideas about how to get back to the island but there is a caveat: they all have to return, including the body in the casket. By the way, in the event the casket reveal was leaked, there were two alternate endings filmed: one revealing Sawyer in the coffin and the other Desmond.

So the burning questions I have are:

Is Jin still alive? Did he make it into the water before the freighter exploded?
Where did Christian dismiss Michael to?
I think there is a lot explained by the Mirror Matter Moon theory. As such, could Jeremy Bentham be the dark to Locke’s light?
What is Charlotte’s connection to the island? If she was born there, how did her pregnant mother get there, since mothers that conceive on the island die before they can deliver?
What are the very bad things that happened on the island after Jack left?
Where did Daniel, Bernard, Rose and Vincent end up?
How will Jack get Bentham/Locke back to the island? And are there any connections to 815 when he had Christian’s body in tow?
What does the connection between Christian, Claire, Jack and Aaron have to do with the island? And how the hell is Jack going to convince Kate to bring Aaron back to the island?
Why does everyone trust Penny so implicitly when her father’s agenda seems to have a less-than-earnest motivation?

No matter, if you pardon that pun. I will happily mull over this last season and all its mysteries while we wait for the Season 5 premiere to arrive in early 2009. Until then, happy theorizing and, while you wait, perhaps you might consider contacting Octagon Global Recruiting, who ran an ad during the finale to recruit volunteers for the Dharma Initiative. Clever little buggers!

TBTA's Peter Pan: Helping Lost Children Find A Home

2008-05-20T08:39:00.000-07:00

Thank goodness for the many theatre “incrediblogs” in existence to keep you up to speed on Broadway’s awards season. Without doubt, it’s been an exciting year on the Great White Way and my esteemed friends are covering the news with great panache. I will leave all the handicapping and dishing to them, as the amount of time I can currently devote to my writing is minimal. My fellow theatre bloggers will be much more thorough, so you are left in capable hands if that is the purpose of your visit.

You ask, then, why no time to write? Well, a few weeks ago I watched over 70 actors sing and dance their way through auditions for the musical Peter Pan. The production, which I am directing, is part of The Brookfield Theatre for the Arts’ 2008 Season. Guiding the cast of 37 through rehearsals that include flight, swordfights, Heelys, major choreography, four different sets and numerous costume changes will definitely be a Herculean effort.

Despite the monumental task of mounting this musical, I eagerly accept the challenge for I believe that our production has had a bit of fairy dust blown in our direction…

Everyone knows the story of Peter Pan. It is the story of the boy who would never grow up, who lives on a magical island where time stands still. Interestingly, in the first few weeks of rehearsal, it has become very evident the myriad ways we recall being told of Peter and his Neverland adventures. Most think of the Disney animated feature or the televised versions featuring Mary Martin or Sandy Duncan in the eponymous role. For others, it might be the recent Cathy Rigby revival on Broadway or the numerous cinematic adaptations of the Peter Pan story.

Certainly, as you grow older, the story takes on a completely different meaning than it did when it was all about flying, Pirates & Indians and defeating the bad guy. I think that is the sign of a great story – when it is both timeless and universal. For me, it is a story about our search in life to find people to love us and to look after us. Whether searching for a parent, as in the case of Peter and the Lost Boys, or growing beyond the years of requiring parents and starting to seek a different kind of companionship, as with Wendy, this story is about developing relationships and trusting and relying on one another.

And here’s the bit of fairy dust…

Last year, the former President and Artistic Director of TBTA adopted a son through the Department of Children and Families. The Department has now partnered with TBTA to utilize our gallery space for their Heart Gallery, a photo art exhibit featuring children in need of a permanent family connection through adoption. In my life, I’ve had the great fortune of seeing several friends who have created families through adoption. I truly feel the connection between my personal experience and this production is not accidental and I am honored the Heart Gallery will be displayed during the entire run of Peter Pan.

I leave you with this. Anyone who has ever done theatre identifies with the notion that those involved in the production become, for a time, your family. Being a musical that has so much focus on parents and children, I suspect that our production of Peter Pan will be no different, especially given the exhibit that will be hanging in our gallery. Without doubt, those sitting in the audience in July will be seeing a very special production of this classic musical. Because, you see, in our cast there are sixteen performers from six different families, including two sets of twins! If you also consider the cast members that have family helping behind the scenes, Peter Pan’s cast and crew will be a family in the truest sense of the word. And for this particular production, I think that speaks volumes.

Please, come see it… and be a part of the magic.

=============================================
TBTA presents Peter Pan
Performance Dates:
July 4, 5, 11, 12, 18 and 19, 2008 at 8:00pm
July 13, 2008 at 2:00pm
Ticket Price (All Performances): $20.00
Reservations: 203-775-0023

Department of Children and Families: The Heart Gallery

Does Cubby Smell A Tony In The Heights?

2008-05-13T14:13:00.000-07:00

With this morning's Tony nomination announcement, perhaps Cubby will be looking to add Lin-Manuel Miranda to his success stories. Congratulations to In The Heights for their 13 nods and a special shout out to local boy Robin de Jesus for his nomination! The race is on, boys and girls. And I think it's gonna be a good one!

Chatting with Sondheim

2008-05-01T10:33:00.000-07:00

Since my day job is in the marketing field, I have to admit to getting a fuzzy, warm feeling inside when I see my two worlds, marketing and theatre, converge. In this case, the Roundabout once again shows its ability to come up with creative marketing targeted to what we in "the biz" call millenials. This time around they are offering the opportunity to pick the brains of the prolifically brilliant Stephen Sondheim and Roundabout's crackerjack Artistic Director Todd Haimes.

This should be a well-spent hour at the computer, don't you think?

Sign up quickly - there are only 500 spots available.

A Musical Theatre Hosannah Moment

2008-04-30T13:30:00.000-07:00

There are times in our lives when we stumble pleasantly upon great performances such as this. This is a clip posted by the am-AH-zing Seth Rudetsky on his YouTube channel, which is a must-have subscription for any theatre fan worth their salt. It is of Tom Andersen singing his award-winning song "Yard Sale" for the BC/EFA Leading Men III benefit concert. It is a simple and deeply moving song about an experience he had whilst living in San Francisco in the 80s.

If you have the means, please give to this worthy cause. However small, you have the ability to impact so many talented lives with your donation.

Enjoy!

Parenting 101

2008-04-30T10:42:00.001-07:00

Unless you live under a rock, you have probably seen reports of the recent brouhaha related to Miley Cyrus and her racy photos appearing in June's Vanity Fair magazine. When the news first broke, my husband was instantly outraged, since all three of our girls are big Hannah/Miley fans. His first complaints related to what drove her father, Billy Ray Cyrus, to allow those photos to be taken. Poor judgment? Greed? And did Disney have any input about their “brand” when these photos were approved? When I discovered that Annie Leibovitz was the photographer, it somehow seemed to soften the blow a little. But, really, why? Because she is one of the greatest photographers of our time? Probably... But at what point do you the cross line into the land of "this has gone too far"? Artistic or not, the sexy photos of Miley draped across her father’s lap are a tad creepy...

While my husband was bemoaning how Miley is headed in the same direction as Lindsay and Britney, it brought to mind questions I've had related to Spring Awakening. Loyal readers know how I feel about this Tony Award-winning production but I've often questioned how a mother could let her young daughter take on a role such as Wendla. Years ago, when a then 14-year-old Lea Michele first got involved with Spring, what went through her parents' minds when they were told that the role would involve nudity and simulating sex acts on stage?

My oldest daughter is 8 - and in 6 years' time I honestly don't think I would allow her to do either. And I know for a fact that my husband wouldn't let her. She's got her whole life to be sexy and deal with adult issues, why do we need to accelerate the arrival of those milestones?

Have any of you thought about or been concerned by this? Parents or not, I'd be interested in hearing your opinions and insight. When it comes to mixing teenagers, sexuality and art where does that fine line between creative expression, censorship and good parenting exist?

Anticipating A Summer Of Awesome Theatre

2008-04-22T19:14:00.000-07:00

In just under two weeks I will be back in the director’s chair, which is truly one of my favorite places to be. This time I’ll be bringing the timeless musical classic Peter Pan to the boards at TBTA. When I direct a show, however, some things in the ol’ schedule have to give. Basically, you can expect a reduced presence here on my blog and not quite as many adventures in NYC.

Once the show opens in July, however, I will be making up for lost time, taking in some of the theatre that is currently my “most anticipated” list:

[title of show], having mastered the art of viral marketing, got their sought after Broadway opening at the Lyceum Theatre on July 17th. I did not see the show during its Off-Broadway run but the YouTube [tos]casts and peer reviews have earned it a spot on my dance card.
Joe Iconis’ The Plant That Ate Dirty Socks will open in July at the Lucille Lortel Theatre. Finally an Iconis show I can bring the kids to.
Damn Yankees returns to NYC with Jane Krakowski as Lola and Sean Hayes as Applegate in City Center Encores! Production opening July 10th. This show has always been a personal favorite of mine and I’m definitely ready for Sean Hayes to make his theatrical debut.
In August, Hair makes its return to the Delacorte Theatre in Central Park as part of the Shakespeare in the Park series. The fully-realized production of the September 2007 production opens July 22nd and runs through August 17th.
After Labor Day, Richard Griffiths and Daniel Radcliffe will be transplanting the West End production of Peter Shaffer’s Equus. My father directed the Pennsylvania premiere of this riveting play in the 70s, giving me an early exposure to and appreciation for this show. I’ve seen my father play the role of Dysart in two separate productions and am really looking forward to seeing the Broadway production at his side. Equus opens on September 25th and will be a limited engagement running through February 8th, 2009.
Finally, amid the buzz of the forthcoming Sheik/Sater projects The Nightingale and Nero, is the Duncan Sheik project Whisper House. This less publicized work is making its debut in my back yard at The Stamford Center for the Arts. All indicators point to a Fall 2008 opening for the musical about an orphan living with his aunt and a Japanese man in a Connecticut lighthouse during World War II. The boy thinks he sees ghosts that are telling him not to trust the Japanese man because he might be the enemy. 30 Rock’s Keith Powell will be directing the musical and states, “It's about this boy's loyalty and overcoming his fears and really trying to do what's right when all of the world is in turmoil. It's -- of course -- a metaphor in a way for what's happening in today's politics."

Yes, it will definitely be a busy summer, filled with the lifeblood that courses through my veins: theatre. Hope to see you at the show!

Are Mellencamp & King's Ghost Brothers Broadway Bound?

2008-04-04T11:34:00.000-07:00

Almost as fun as relishing the shows that are already running is anticipating the ones that are to come.

The other day my dad and I were talking and John Mellencamp, recent Rock 'n' Roll Hall of Fame inductee, came up in conversation. He then asked me what I knew about his upcoming musical. The answer? Nothing. And then he said, "He's writing it with someone big." My interest was peaked and I made a mental note to Google this factoid.

Well, "not since Carrie" has a Stephen King story been adapted for the stage. And that holds true until April 2009 when the Alliance Theatre in Atlanta will produce the out-of-town tryout of King & Mellencamp's Ghost Brothers of Darkland County. From Alliance's Web site:

In 1957, in the tiny town of Lake Belle Reve, Mississippi, a terrible tragedy took the lives of two brothers and a beautiful young girl. During the next forty years, the events of that night became a local legend. But legend is often just another word for lie. Joe McCandless knows what really happened; he saw it all. The question is whether or not he can bring himself to tell the truth in order to save his own troubled sons, and whether the ghosts left behind by an act of violence will help him...or tear the McCandless family apart forever.

Stephen King’s script brings the power of suspense and Rock and Roll Hall of Famer John Mellencamp brings a gritty rock and zydeco score to this World Premiere musical that’s certain to send chills up your spine.

Ghost Brothers' guitar-driven score is in the hands of two accoustic guitars, a fiddle and an accordion and early response to both the music and story seems pretty positive. At the helm is director Peter Askin, who directed Eve Ensler's The Good Body on Broadway and the Off-Broadway cult favorite, Hedwig and the Angry Inch. I'm also guessing that King's direct involvement, which was absent from the infamous musical flop that was Carrie, will work very much in this production's favor.

I'm hoping that my globetrotting friend Steve over at SOB works in a trip to Atlanta to see this one. I'm anxious to see if it is as good in reality as it is in concept. If all goes well, a Fall 2009 move to Broadway is planned, an event that I am keeping my fingers crossed will happen.

Sunday In The Park With George: The Dot Project

2008-04-02T13:40:00.000-07:00

Clever marketing venture from "my beloved Roundabout Theatre" (that's what they call themselves when they call me to re-up my subscription)...

Click on the photo and create your own "audience member" dot...

Cry-Baby (Or "What I Become When A Musical Doesn't Have A Story")

2008-04-02T13:24:00.000-07:00

Despite the brouhaha-inducing potential of making critical commentary before a show has opened, I feel that there are instances when protocol can be broken. In a struggling economy where our hard-earned dollar can be spent on any number of stellar shows currently running on Broadway, I feel fair warning is justified. Besides, if Michael Riedel can do it, why can’t I?

The musical adaptation of John Waters’ 1990 film Cry-Baby, currently in week three of a six-week preview cycle, has been highly anticipated by fans of his films and/or its Tony and Olivier Award-winning predecessor Hairspray. While I enjoyed Hairspray, I don’t know if I would have feverishly pursued the ticket to Cry-Baby based solely Hairspray's success. Were it not for the coinciding opportunity to meet fellow theatre bloggers, I probably would not have seen Waters’ sophomore Broadway offering. But I did – and I wasn’t crazy about it.

Set against the backdrop of 1954 Baltimore, Cry-Baby tells the tale of bad boy Wade “Cry-Baby” Walker and the mutual attraction he has with good girl Allison Vernon-Williams. Oft compared to Grease, this musical lacks focus and, more importantly, a compelling story. Unlike Hairspray’s very serious subplot of racial equality, Cry-Baby struggles to find a single story arc, let alone one or more B stories.

Despite this critical flaw, every effort is made to provide an entertaining piece of musical theatre. Schlesinger and Javerbaum’s score, bouncy but forgettable, serves as the footing for intermittently clever lyrics and Rob Ashford’s choreography, which is arguably the best element of the show. Mark O’Donnell and Thomas Meehan’s book is chock full of one-liners/groaners but none so clever that I will be quoting Cry-Baby anytime soon.

Admittedly, I was pulling for newcomer James Snyder, whose work I’ve enjoyed immensely on the definitive recording of bare: the musical. While he does an admirable job with the title role, I wouldn’t say that I was blown away. I fault the material in this particular case, not the performer. But I might be a little biased…

The remainder of the cast also performs admirably, pumping every ounce of their energy into the production, but to no great avail. Elizabeth Stanley, most noted for her turn as April in the recent revival of Company, is charming and Harriet Harris is well-cast as the Donna Reed-esque grandmother. However, both roles do the corresponding talent a disservice. In fact, the only character that truly stands out is Alli Mauzey’s Lenora, whose “Screw Loose” is a highlight of the show.

All in all, Cry-Baby is entertaining, in a fluffy, “thank God I paid half-price for that” sort of way. From what I understand, the last two weeks of previews have put Cry-Baby through several changes. Judging from John Waters’ post-show appearance at Angus McIndoe with notebook in hand, I’m certain more are to come. And maybe those changes will help see Cry-Baby through the summer months. Maybe.

April Fools

2008-04-01T08:40:00.000-07:00

I absolutely love it!

http://www.broadwayworld.com/viewcolumn.cfm?colid=26518

Speechless

2008-03-30T05:59:00.001-07:00

Yesterday we had a birthday party for my eldest daughter, who recently turned eight. It was your typical elementary school birthday party - a dozen 8-year-olds, birthday cake, presents. When we got home, she opened her presents. One included a card:

Wait for it...

Speechless. I am utterly speechless.

Award-Winning Band of Players Moves To Port Authority

2008-03-29T04:19:00.000-07:00

The Atlantic Theater Company, the Off-Broadway company that first produced the 2007 Tony Award-winning musical Spring Awakening, recently announced the cast for its production of Conor McPherson's Port Authority. The limited engagement will feature Tony nominee Brian d'Arcy James, Tony winner John Gallagher, Jr. and Olivier winner Jim Norton.

The play has been penned by one of today's most celebrated playwrights, currently represented on Broadway with The Seafarer. Should this multi-generational play make a move to Broadway, it will be sans James, who (now officially) will be playing the title role in November's much-anticipated Shrek (guess that rumor was true).

I saw Brian in last season's The Apple Tree but look forward to seeing him in a play. I'm sure his performances in Inishmore or Dirty Rotten Scoundrels outshone his turn at the Roundabout. However, I fault the material, not him. I think he's a solid performer and I am highly anticipating his performances in both Port Authority and Shrek.

A similar anticipation holds true for Johnny. I look forward to seeing him in a play since I've seen him only in a musical environment: Spring Awakening, Old Springs Pike or with Joe Iconis. While he did flex his acting muscles a bit in Spring, I look forward to seeing him in a role where his entire focus is on the acting. I missed his turn in Rabbit Hole (or any of the other Lindsay-Abaire he did for that matter). Plus, after he left Spring to be in The Starry Messenger, which subsequently fell through, I'm glad to see him back on stage.

I've never seen Jim Norton perform but he's an Olivier Award winner with clear ties to the playwright. I would imagine there is a lot of trust in that relationship and that there is a reason he shows up in McPherson's plays.

I predict that this will be a riveting evening of theatre. If any of the names associated with this project are remotely tempting to you, I would suggest you get your tickets now as the theatre is small and tickets seem to be going quickly.

Things You'll Learn To Love About Me

Resolutions for a Girl That Doesn't Make 'Em

Welcome To My Life

Check Out The Paving on the Road to Hell!

The Darling Apprentice

Halloween & Shakespeare

Flex Those Muscles, Girl!

Help Diabetics & Vote for Tony's Plate

In Memoriam: Patrick Lee (1959-2010)

There's A Woman At The Piano!

Rising From The Ashes

A Change of Heart

Shing-A-Ling, What A Creepy Thing To Be Happening!

What The Future Holds: My Original Musical

Shanley's Doubt Opens at TheatreWorks in July

I’m Making Strides To Cure My Diabetes

DVR Alert: Broadway in Your Living Room!

Releasing My Inner Van Helsing

A Gaythering Storm

TBTA Offers Die Vampire, Die! Workshop with Susan Blackwell

Now Playing or Coming Soon to a Theatre Near... Me!

The Story of My Life Could've Been So Much More

Stop the Breaking of 36,000+ Hearts

The Real House Lives of Osage County

I'd Plotz for a Klotz!

Top 5 Discoveries of 2008

Broadway Can Kick Your Ass

Save Broadway

Top 5 Performances of 2008

Top Videos of 2008

Top 5 Productions of 2008

Two Videos You Must See!

My Broken Foot

Burning The Candle At Both Ends

Second Harry Potter and the Half-Blood Prince Trailer

600 Words + 600 Friends = [tos]some Video for 9pft

No Day But [tos]day

NYU Brings Tesori's Violet To Light

I Need A Little More Time...

You Can't See Everything

A Mamma Mia Oscar for Streep Is Doubtful

Broadway's 2009 Season Continues to Beckon

Sorkin "Friended" By Facebook for Biopic

Change Is Officially Imminent

The Simpsons Intro in Live Action - 2 Cool!

Where The Wild (And Talented) Things Are: 92nd Street Y

Ethics of Reciprocity In Hollywood?

Never Neverland (Fly Away)

www.shrekthemusical.com

Obama, Iconis & Sondheim

A Little Toast with Jam-boree

Crazy Talented Cheyenne

August: Osage County Inches Closer To The Silver Screen

The Dempster Girls Take In The Plants That Ate Dirty Socks

A Career Change?

Half-Blood Prince vs. Half-Baked Stableboy

City Center Scores with Damn Yankees

More Movie Musicals On The Horizon

A Life-Changing Revelation

Plugging In To The Battery's Down

The Summer of Iconis Continues @ Theatreworks USA

Whoopi Joins Xanadu for Month of August

Summer Crowds Passing By Passing Strange

Tesori's Violet Headed to NYU's Stage

TBTA's Peter Pan Opens Tonight

O Sondheim, Where Art Thou?

LOST Season 4 Finale: There’s No Place Like Home, Parts 2 & 3

TBTA's Peter Pan: Helping Lost Children Find A Home

Does Cubby Smell A Tony In The Heights?

Chatting with Sondheim

A Musical Theatre Hosannah Moment

Parenting 101

Anticipating A Summer Of Awesome Theatre

Are Mellencamp & King's Ghost Brothers Broadway Bound?

Sunday In The Park With George: The Dot Project

Cry-Baby (Or "What I Become When A Musical Doesn't Have A Story")

April Fools

Speechless

Award-Winning Band of Players Moves To Port Authority