Check Out The Paving on the Road to Hell!

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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Flex Those Muscles, Girl!

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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JRB's Parade Makes West End Debut

As I mentioned in a recent post, I spent this past weekend in London on a bit of a theatre binge. Since I've got another one coming this weekend, I figured I should be diligent in my posting so that I am sure to get all my reviews and commentary in while they are still relevant!

My Friday evening was spent at the London production of Wicked. Mind you, I was fortunate to have seen the original Broadway cast, with the exception of Norbert Leo Butz who was having back surgery. But his understudy was Taye Diggs, so that was cool. What was not cool was the fact that I was suffering from a rapid onset of the flu and don't really remember that much of it. Of course, I have since become very familiar with the show and was happy to finally see it with a clear head.

Saturday afternoon was spent at the Dirty Dancing matinee. You can read my complete review but I think I can sum it up in one comment: The only way that you will get me to see that show again would be if Prince William himself was Johnny Castle. I'm appalled that the presale for this show was the equivalent of ~$24M. GAWD!

Fortunately my Saturday night ended on a theatrical high. When I was checking out listings, I was absolutely thrilled to stumble upon the fact that JRB's Parade was due to begin previews the very weekend I was going to be in London's West End. I have been wanting to see this show live and what better place than at the respected Donmar Warehouse?

After a quick spot of Indian food, I headed over to the Donmar to watch this haunting and distinctly American musical unfold before a British audience. Rob Ashford, who was the swing in the Broadway production, adapted the musical nicely to the small space and effectively reduced the cast size from a staggering 35 to a modest 15.

The story, based on actual events, is skillfully retold by Tony and Pulizter Prize-winning author Alfred Uhry and the increasingly popular composer Jason Robert Brown. Set in 1913 Atlanta, Parade tells the story of Leo Frank, a Jewish businessman who is accused of killing a 13-year-old girl in the basement of his pencil factory. The ensuing trial and media circus provides a timely commentary on one of those shameful points in American history where ignorance and greed will out over truth and justice.

After having sat through an afternoon of tortured American accents, I was pleased to see that this cast had been well-coached. Their Southern drawl was believable enough to pass muster with me anyway. So I was able to quickly more to the heart of this production. The cast. Led quite impressively by Bertie Carvel as the mild-mannered Leo Frank, this troupe manages their multiple roles in a way that truly defines ensemble.

Ashford's crisp staging has the actors facilitating the scene changes, allowing little opportunity for interstitial applause. This technique benefits this particular production nicely and is aptly managed through use of music, a quickly-paced dialogue or the establishment of a new scene. While Ashford is noted for his Tony Award-winning choreography, I felt his staging bested his choreography, which came off as frenetic and out of place. Also out of place was the "phantom actress", who was double-cast as Lila and Mary Phagan, when she appeared from time to time in full Scarlett O'Hara regalia.

Jason Robert Brown's music really is quite beautiful. And there are moments in this score that just cut you to core. Almost as harrowing as Moritz Stiefel's funeral in Spring Awakening is the scene when the young girl who has been murdered is buried. Making use of the traditional hymn, "There Is A Fountain", Brown overlays the ballad "No It Don't Make Sense" with devastating effect. Watching a parent bury a child is about as gut-wrenching as it gets and, in this instance, it is exquisitely accompanied by the score.

I was disappointed, however, that "Big News" was cut from this production, as it really is a great piece. However, it is challenging for even the best of singers and sometimes directorial and artistic decisions have to be made. There are several other beautiful ballads in Parade but the song that you leave the theatre humming is "The Old Red Hills Of Home". The show's opener and closer, with its patriotic build and well-blended harmonies, is gloriously sung by this London cast.

Of course, every cast has its standouts. Carvel navigated his character's emotional and vocal levels with just the right blend of timidity and fortitude. Lara Pulver delivered a fine performance as Lucille, Frank's crusading and supportive wife. However, there is a lyric describing Lucille Frank as a mousy wife and Ms. Pulver read more stunning and refined than mousy. Mark Bonnar was convincingly detestable as the prosecuting attorney, Hugh Dorsey, and Stuart Matthew Price, as the murdered girl's vengeful friend, countered the ugliness of his character with a lovely tenor.

The minimalist set served the various scenes nicely, with an upper level used for the factory, the judge's bench, a fishing bridge and the gallows from which Leo Frank is lynched. This climactic moment needs a little tightening, as it seemed an eternity that I was focusing on the caribiner being attached to the actor's harness. The backdrop, a weathered portrait of a community in the Confederate South, added a bit of interest without being overbearing. The one exception is when the Confederate flag is illiminated by a garish red light for some reason, which I can't recall. It must not have been to any tremendous dramatic effect or I think I would remember.

The costumes remained within period, with the exception of the black jersey-knit boxer briefs that Leo Frank was wearing when he stripped down to his skivvies. I don't usually tend to comment on costumes, unless something really stands out. Since this was the second public performance, I will presume that the safety pins that held many of the costumes will be replaced by sturdy thread. And while I am commenting, they needn't bother strapping down the bosoms of the actresses portraying the younger set, it does not flatter the costumes. I'm quite certain all will be in order come opening night. Believe me, I know what opening weekends can be like.

All in all, I found this production to be very moving. It had the right blend of talent, structure and material to make me feel as though I spent my money wisely. This is definitely a production where the return on your investment stays with you long after you paid your credit card bill.

Theatre - Repeatedly & Retroactively

When I moved from Florida to the Tri-State area in 1985 it was with the wide-eyed hope that I would one day see Cats. Joke all you may but from our tropical little peninsula, Andrew Lloyd Webber was theatre's latest "it" boy. I arrived to Connecticut shortly before Les Miz reigned supreme as Broadway's newest sensation and little did I know that Sir Andrew was about to send Phantom our way.


As luck and budget would dictate, I ended up seeing the shows in reverse order of release: Phantom first, then Les Miz and finally Cats. And I saw each more than once. Yes, even Cats. Until this, my 38th year, Les Miz held the "Most-Attended Broadway Show" title for me. Tonight it will become tied with Spring Awakening, as I go for my 4th time. Of course, I saw Les Miz four times during its entire original run... SA hasn't even been on Broadway for a year!


Remember, I'm a theatre geek. It's okay. I get a certain pleasure seeing great shows more than once. Only then that you can spend time enjoying the subtle nuances of the performances, focus on staging and technical elements or spend a few minutes away from the action to watch Kimberly Grigsby deal with a busted piano string during a performance.


I was reminded of my reverse appreciation for theatre when I purchased my ticket for Parade at the Donmar Warehouse in London. My appreciation for several composers tends to be retroactive. Jason Robert Brown is a perfect example. I stumbled upon Parade when a friend of mine was telling me that one of his dream roles was Leo Frank. So I listened to the soundtrack and immediately became a fan of the show. Subsequently, I've become a fan of JRB's. Funny how theatre works out that way.


Oddly enough - and I'm sure I'll be slain for saying so - I was NOT a fan of Stephen Sondheim's for most of my theatrical life. I appreciated certain Sondheim shows but never really LOVED any of them, save West Side Story, which is only half his anyway. Maybe it was because I wasn't old enough. Or educated enough. But now I love his work. Perhaps it was being in Assassins that opened the floodgates. That was the first Sondheim show that I was ever in, so maybe that is the trick. Once you've performed it, the appreciation grows exponentially.


So the two theatricals lessons that I have to share in this post: (1) Always be open to new (and old) writers, composers and their bodies of work and (2) If you have the chance, see a show more than once. It will heighten your sense and appreciation the entire production and its building blocks. Well, at least it has for me...

Those are my thoughts for the day. Enjoy!