Parenting 101

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?

Award-Winning Band of Players Moves To Port Authority

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.

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Six Degrees Of Lea Michele

Nearly a year has passed since my first Spring Awakening experience. The winner of the 2007 Tony Award for Best Musical impacted me so deeply that I’ve since seen it six times since. I know that there are Guilty Ones whose attendance records are well into the double digits but then I’m not privy to the luxuries afforded to those with student discounts and 20-something lifestyles.

My love for the show has been the source of many laughs for those who know me, especially my husband. I can only imagine the water-cooler conversation he was having when he discovered that one of his co-workers grew up with Lea Michele. In fact, one of my favorite Lea Michele stories was at the stage door after the first time my husband saw the show (my fifth). He was trying to pass on well-wishes from his co-worker but butchered her maiden name. Lea stared at him blankly and then, realizing who he was talking about, corrected him in a flawless Italian accent. She sort of nodded her head, smiled and said a quick good bye. Then she dashed away, arm in arm, with her Altar Boy boyfriend Landon Beard. We affectionately refer to the experience as "the time that Lea snubbed Billy."

I have never seen anyone other than Lea go on for Wendla. I do enjoy what Lea brings to the role and I think that the music utilizes her vocal assets well. Even more so, I respect her (and her mother) for committing so deeply to this groundbreaking piece of theatre – especially at such a young age. Bear in mind, Lea’s been in the business for over 10 years. In fact, Spring is Lea’s fourth Broadway show and, in comparison to most of the other cast members, I think her sense of wonder has grown pale. That said, my stage door conversations with Lea have been minimal, albeit pleasant.

A few weeks ago, we got a phone call from my husband’s aforementioned co-worker. Apparently, the topic of her boss’ Spring Awakening-obsessed wife (that's me!) made it into a conversation at a recent family gathering. Lea’s parents subsequently urged our friend to invite us to their daughter’s solo concert debut at Feinstein’s on February 25th. Needless to say, this was an invitation that we eagerly accepted. Sometimes, the theatre gods smile upon you.

This was my first concert at Feinstein’s, an intimate supper club that has hosted some of Broadway’s finest talents over the last decade. As Lea’s family, friends and fans gathered, we were escorted to the “head table” and introduced to her parents. After thanking us for our support of the show, Lea’s mom hinted at the set list and promised that we were about see a bit of Lea’s lighter side as well. Funny, since I was just commenting on the trip in that it would be interesting to see Lea next project be something less dark. Her mother then explained that Jonathan was supposed to sing with Lea but wouldn’t be able to because he had been sick. She then emphasized that he would be sitting with them, cheering her on, but still wasn't able to sing. Clearly, Lea’s parents are very proud and they were obviously thrilled to have a room brimming with familiar and adoring faces, all there to see their baby.

Our table of nine was assembled in the corner by the door. This was a good spot to be because we had a bird’s eye view of the guests strolling in. Michael Mayer was the first notable to arrive as we sipped cocktails and ate overpriced food. Blake Bashoff, Spring’s Lost Boy, appeared and hung out by the door until dinner was over. Lea’s dad came by to check on us and bemoaned how long it was taking his daughter to get ready. He then casually mentioned that Frankie Valli was there before darted off to greet another guest. Our table, largely comprised of ladies in their mid-20s, spent the next 10 minutes pinpointing where they knew Frankie Valli from. Singing “Big Girls Don’t Cry” didn’t do it for them (God, I felt old). Jersey Boys ignited a few more sparks of recognition. Hold on! Wasn't he the Teen Angel in the movie Grease? No, wait, that was Frankie AVALON!

For the longest time, Blake stood there by himself. I was really tempted to abandon my dinner to ask him about Lost and Spring but Monday was his night off and there are boundaries. More importantly, that night was about Lea. Blake was soon joined by Spring alum Robi Hager, cast mates Kate Burton and Glenn Fleshler and, of course, Mr. Groff. Producers Tom Hulce and Ira Pittleman were also there to show their support.

While I did have my cameras ready to snap a photo or two, the pre-show announcement prompted me to scurry them away. So, I suppose, this review will have to rely solely upon memory.

Lea, bedecked in a navy Butter by Nadia goddess gown, breezed in with a decidedly light “Not For The Life Of Me” from Thoroughly Modern Millie. Afterward, she announced how nervous she was to be playing in a room where she’s seen some of her favorite performers, including Linda Eder. Her recollection of her stage door experience following Jekyll and Hyde elicited a laugh from Mr. Mayer, which prompted a shout-out from Lea. She then asked him if she’d be receiving notes on her performance.

She next sang an arrangement of “Once Upon A Dream” and “Someone Like You”, which musical director Deborah Abramson played from autographed sheet music. Lea’s sultry performance of “Easy To Be Hard” had me wondering if she wouldn’t be a contender for this summer’s Shakespeare In The Park production. I was also pleased that she and I share similar stories about Hair’s powerful ballad and being introduced to it at a very young age. Of course, I had to chuckle a little when the successful 21-year-old proclaimed that she was "ready" to do that song now.

Then Lea told that really good story. You know, the one about that time when she and her mom picked up and moved to Toronto to join the cast of Ragtime with some of theatre’s foremost talents. At 12, she was receiving vocal warm-up tips from Audra McDonald. Seems to me that being a part of Tony’s Best Musical of 1998 and saying Audra taught you how to breathe from your diaphragm really makes a suitable alternative to formal training.

Following her performance of “Waiting For Life” from another Ahrens & Flaherty musical, Once On This Island, Lea acknowledged what a tremendous experience being a part of Spring Awakening has been for her. She joked about how she had initially planned to steer away from talk of her current gig but clearly her forthcoming departure is making her a bit sentimental. Despite her jokes about receiving notes from him in capital letters, she sang a touching “I Don’t Know How To Love Him” for Michael Mayer followed by a haunting solo arrangement of “Touch Me”.

Lea next performed an original piece written for her entitled “Another Day”, co-written by Abramson and Amanda Yesnowitz. She followed with a joke about the front row being the “splash zone” and openly acknowledged the phenomenon that some of my online friends have coined Groff Falls. That made many Spring fans chuckle and nod (and I’m guessing a few cast members did, too). In fact, “making out all the time” and getting each other sick was what carried the blame for Jonathan’s inability to perform with her. However, much to the delight of Altarholics in the crowd, Landon Beard joined her onstage as she sang “Say It Somehow” from Light In The Piazza, which segued into the classic West Side Story duet “Somewhere”. Hmmm… Was Lea possibly lobbying for her and Groff to play the leads in the West Side Story revival planned for next year? I wonder…

Joking and speculation aside, it is widely known that Jonathan Groff is Lea’s best friend. The journey that they have shared over the past few years has undoubtedly created a bond that will last for years to come. Fighting tears, Lea explained how important their friendship is to her before she sweetly dedicated Sweeney’s “Not While I’m Around” to her co-star.

Deftly avoiding the schmaltz, Michele navigated her way to “The Wizard And I”, the showstopping ballad from Wicked. She stated that Elphaba was a dream role of hers and joked with Spring costume designer Susan Hilferty, “You designed the costumes for Wicked. You’ve got some pull over there, right?”

Lea closed her show with another one-two punch of Sondheim (“Not A Day Goes By” from Merrily) followed by Idina (“Life Of The Party” from The Wild Party). Lea then excitedly announced that she will finally have the opportunity to perform her dream role, Eponine, in the much-touted Hollywood Bowl concert of Les Miserables in August. So I guess that me she won't be doing Hair then. Wow, that was short-lived! We were then given a taste of what’s to come with a flawless performance of “On My Own”, which was met with a standing ovation.

While there were a few bumpy moments, Lea handled her cabaret debut with the charm, grace and talent that has already afforded her so many great opportunities. At this point in her career, I would liken Lea to a porcelain bell. She is a classic beauty, still quite young and fragile, with a voice that is at moments both pure and grand. Those moments seem to happen when she is singing material with which she is more comfortable and familiar. At 21, even though she is a seasoned performer, I think she is still discovering her vocal style outside of the confines of Spring or Les Miz. I hope that the next few shows she chooses to do will help her to further develop who she is vocally. Personally, I hope she tackles something brassier and bolder, something that will demonstrate and nurture her range. While revivals and Wicked have their undeniable appeal, I hope she attaches herself to another original project.

After the concert, we made our way back to Lea’s parents’ table to thank them for a wonderful evening. Everyone was anxious to see Lea, who her father explained was held up in the green room. As the crowd was moving by, I kept getting knocked into Groff’s backside, which wasn’t an altogether bad thing. At this point, Landon walked over accompanied by a distinguished looking gentleman in a camel colored coat. Lea’s dad turned to us and said, “I’d like you to meet my friend, Frankie!” After shaking Mr. Valli’s extraordinarily soft hands, Lea’s dad thanked Frankie for coming to the concert. He smiled and said, “Your daughter! My son!” and he patted Landon on the back.

Our friend’s family, most of whom hadn't seen Spring Awakening yet, were anxious to get going. When they started harassing Lea’s dad about how long she was taking, we were instructed to go into the green room. In fact, we were standing in the room when many of the photos on Broadway.com were taken! We even took a our own blurry backstage photo:

With cameras flashing in the background, we waited in the corner, with Kate and Blake. Again, I resisted the temptation to talk to them. Damn boundaries…! Plus they were busy talking shop. When the photo op was done, we finally got to say “hi” and snap a pic with the lady of the hour.

All in all, I had a wonderful time. If you ever have the opportunity to see any of the Spring Awakening kids performing outside the familiar territory of their show, I highly recommend it. Casting director Jim Carnahan and Spring's production team have a knack for finding young talent that is to be seriously reckoned with, Lea included. In fact, April 7th will find Lea once again performing at Feinstein’s. If you can afford the price of the ticket and the food, I’d say it is a reckoning worth witnessing.

2008 Will See Another Be-In At The Delacorte

There are some theatrical experiences that stick with you. You know the ones... For me, the musical Hair was, and continues to be, one of those experiences. It is the original "little rock musical that could" - sorry Guilty Ones - penned by James Rado, Gerome Ragni and Galt MacDermot. The thing I love most about Hair, aside from the music, is that it is a socially, religiously and politically charged piece that resonated with young people that were confused and scared. In that respect, it is not unlike Spring Awakening.

In 1967, Joseph Papp offered Hair a 6-week run as the first experimental production at what was then a new Public Theater. Producer Michael Butler moved it to the Cheetah Club in Midtown and after a few rewrites, the show moved to Broadway's Biltmore Theatre for a 4-year run that featured Rado and Ragni, as well as Diane Keaton, Melba Moore and Ben Vereen, among others.

I was born some time during that original run, so the soundtrack was among those that my father had around the house. I remember learning "Easy To Be Hard" for a high school audition once but I think I ended up going with "Oom-Pah-Pah" from Oliver! Just as well, because I didn't really understand the lyrics in Hair until much later in life.

In the 80s, once VCRs became a household staple and I got a job at a video store, I was introduced to the Milos Forman film incarnation, which featured Treat Williams, John Savage and Beverly d'Angelo. It had a storyline that was somewhat different from the stage version. However, it was this version that stuck with me first.

The most notable difference between the film and the play is with Claude's character and his ultimate fate. In the play, Claude is a hippie, a member of the Tribe who gets his draft card, ends up going to Vietnam and getting killed. In the film, however, he is a clean-cut Midwesterner who has been drafted and happens upon the Tribe en route to his deployment to Vietnam. He makes such a fast and furious connection with the Tribe that their charismatic leader, Berger, switches places with him while Claude is on his military base - all so he can see the Tribe once more before heading to Vietnam. While Berger is at the base, Claude's unit is deployed. He ends up going to Vietnam in Claude's place and getting killed. Poignant messages in both versions but vastly different.

Desert Storm began in the middle of my freshman year of college. In addition to a number of friends that were attending ONU with tuition assistance from Uncle Sam, I also had friends that were Kuwaiti. Both were called to active duty by their respective militaries. Being a Theatre/English major, my circle of friends were more the "hell no, we won't go" type. All of this rejuvenated my interest in Hair and it was at that point that I began a more academic approach to the production. My interest in Hair was, in fact, the genesis of a program that gave opportunities to student directors. For me, the program provided me with the opportunity to become the only student to direct a mainstage production in the history of the University. Sadly, I never had the opportunity to direct Hair at ONU but it was this period that really cemented Hair as one of my all-time favorite musicals.

The summer after my junior year, I was afforded the opportunity to be a part of the Edinburgh Fringe Festival as the stage manager for an Estonian play authored by the country's Minister of Arts & Culture, Paul-Eerik Rummo. In addition to the phenomenal experience that was "The Fringe", I took advantage of the trip to Europe to see some theatre in London. Imagine my ecstatic surprise to discover that Hair was being revived at the Old Vic. As best I can recall (this was over a decade ago), the production remained true to the book. The production was relatively short-lived and not very well received. No matter. I was thrilled to have had the chance to see my favorite show in its organic format.

Fourteen years later, in 2007, the musical celebrated its 40th year. The nice folks down at the Public decided it might be a good idea to bring the show back to NYC. After a two-week whirlwind of rehearsals, the Tribe once again descended upon Central Park. Of course, flower children of yesteryear and veterans of wars past came out in droves but, with the hip young talent of Jonathan Groff, Will Swenson, Karen Olivo and Kacie Shiek leading the cast, the three-day run also attracted the younger theatregoer. Certainly age does wither many of the moments that shocked audiences in 1967, but the message remains timeless. The anti-war theme definitely resonates with today's young people but so do the struggles the Tribe members face with their parents, school, religion, sexuality, drugs and, quite simply, growing up.

Being a longtime fan of Hair, I dragged my 38-year-old ass out of bed and slept on the pavement for my free ticket to this 40th Anniversary Concert. Some things are worth doing. With ticket in hand, at 7:00pm I waited eagerly for passage through the gates of the Delacorte. After I watched a woman scalp the tickets for $150 a piece, my friend met up with me and we queued up in the long line in front of the theatre. Whilst standing in that line another gentleman, donning a straw conical hat, attempted to sell his ticket at face value to a woman who claimed to be a cop. If Joe Papp wasn't already rolling over in his grave at the $100 "donation" tickets, he was undoubtedly awakened by the sound of the free tickets going for a buck and half.

After a few minutes, we realized that we were in the "cancellation" line, an error we righted straight away. Amidst the sea of ticketholders milling about was a veritable who's-who of theatre. Several Spring Awakening folk were there to show their support for castmate Jonathan Groff. As we made our way to our seats, we spotted James Rado bouncing about the crowd, seeming almost bubbly over this anniversary concert that was generating all this fuss.

It was with good reason that people were effusive. This passionate and energetic cast, backed by composer Galt MacDermot himself, ably conjured up those familiar ghosts of the 60s. The show, which has been widely criticized for its less-than-stellar book, arguably finds its strength in the music. With such a tight schedule, director Diane Paulus undoubtedly had to sacrifice a lot of the allotted rehearsal time to music. This sacrifice was not in vain as the assembly of powerhouse voices did the score serious justice.

Will Swenson was an infectious Berger, bringing the right amount of charisma and timing to the role. Tony-nominee Jonathan Groff, as Vietnam draftee Claude, deftly brought his acting and singing chops to one of Hair's meatier roles. The fiercely talented Karen Olivo shone as Shiela, the much sought after NYU student. And, as the pregnant Jeannie, Kacie Sheik blended vocal sophistication with endearing innocence. Truly, the talent amassed on that stage, in all its vim and vigor, represented what a bright future is in store for Broadway.

As is common with productions of Hair, there were edits made to both the score and the script. "Dead End", "Sheila Johnson", "Hippie Life" and "The Bed" were cut from the 2007 production. All of those songs, save "The Bed", were included in the Actor's Fund Concert but I've not seen or heard "The Bed" performed since I saw the production at the Old Vic. I didn't really miss it, but I like the "Sheila Johnson" lead-in to "I Believe In Love" because you get a better sense of who she is and how she relates to the Tribe.

While I'm sure there were many more than just these, there were only a few noticeable cuts to the book. I felt that the relationship triangle between Berger, Sheila and Claude was mistakenly downplayed. Sheila sleeping with Claude before he goes to Vietnam can be really poignant if played right. Eliminating that dimension is not a directorial choice I would have made. Another area that seemed to be glossed over was when Claude cut his hair. This is a very symbolic action in the play and it didn't carry the impact it should have. I owe that partially to the fact that Groff couldn't get a proper miliary haircut because of his Spring Awakening commitment. Hopefully, that will be remedied in future productions. A final scripted moment I would have liked to have seen is at the end of play. Following the reveal of Claude's corpse during "The Flesh Failures", the Tribe dissipates while singing "Let The Sunshine In." Throughout the song, Berger is meant to have a pair of drumsticks that he beats frenetically. By the time the final chord of the song is reached, Berger is standing at the head of Claude's grave and creates a cross symbol with his drumsticks. The lights go to black and the cross glows eerily in the darkness. A scripted moment that I've never seen live and someday would like to.

Back in September, when there was a lot more press about this event, I read a blurb that there was talk of moving this production to Broadway. As I eluded to in the previous paragraph, while it is not Broadway bound, I am delighted to hear that a fully-realized production of Hair will be included in the 2008 Shakespeare In The Park series. Thus far, Will Swenson and Jonathan Groff have signed to reprise their roles. Karen Olivo is currently starring in In The Heights, which opens on March 9th. I find it hard to believe that she will take a hiatus during Tony season, since In The Heights is a likely contender for some top awards. Perhaps the insanely talented Kacie Sheik will step into the role of Sheila, a role that I believe she is even more suited for than Jeannie.

Diane Paulus will helm the 2008 iteration for the Public. I'm anxious to see what a budget and full rehearsal schedule will bring to the production. The director in me would love to see a multi-media aspect explored but I've yet to get a call from the Public for my input. But that's okay. I'll gladly settle for another night on the line and the opportunity to experience this wonderful production once again - in all its hippie glory!

Oh, Sweet Niblets!

As I've mentioned in the past, I am a habitual list keeper and there are usually a few running at the same time. Among those lists is my blog topic list. Basically, when I spot things that I want to comment on or post about, I add them to the list. Sometimes the topics are just snippets of information that don't warrant a full post and other times they are items that I want to devote more attention to.

In an effort to shorten the list, I'm glomming a bunch of sweet musical theatre niblets into one post:

• The insanely talented Joe Iconis will be performing at Joe's Pub on Monday, February 11th at 9:30pm. The Rock 'n' Roll Jamboree features a series of Iconis tunes performed by some of the most vicious talent in New York. The Jamboree frequently welcomes a guest or two and this performance is no exception. If you haven't had the chance to experience the wild world of Joe Iconis, do it now. Then 30 years from now, when he is named as a Kennedy Center Honoree, you can say "I was one of the first!"
  
• One of the first to have gotten it is Krysta Rodriguez, who frequently appears with Joe and his crew. Krysta is one of Broadway's 20-something juggernauts that was seen in Spring Awakening and A Chorus Line in 2007. On February 14th, Krysta will begin previews for one of the newest Broadway buzz generators, In The Heights. And, yes, she is still finding time for the Jamboree only three days before In The Heights takes Broadway by storm.
  
• And while we are talking about young talent, Jason Robert Brown's 13 is moving to the Goodspeed for it's pre-Broadway out-of-town tryout. For those of you that are too young to audition for Spring Awakening but have the chops to become the next adolescent to realize a Broadway career, the composer has announced audition details on his Web site. And for the rest of us, we will continue to bemoan the "Bitch of Aging".
  
• Perhaps these performers are slightly longer in the tooth but if you happen to be in London on May 12th or 13th, stop by Royal Albert Hall to see Idina Menzel and Josh Groban perform the concert version of Chess. Widely criticized for its weak book, Chess has a beautiful score that I'm sure will be exquisitely rendered by Menzel and Groban's voices.
  
• And finally, the buzz on Great White Way is that following the closing of The Color Purple, Far Far Away won't be any further than the Broadway Theatre. Lord and Princess are to be played by Christopher Sieber and Sutton Foster respectively but the search continues for the big green guy and his adorable sidekick.
  

WOW! Feeling gloriously purged and ready to start anew, I am now sufficiently prepared to tackle my long overdue review of bare: the musical. Maybe that's what I'll do during the Superbowl, when the commercials aren't on.

Rising Above It All

A tribute to Heath Ledger on a viral site for The Dark Knight speaks volumes

We often feel personally connected to actors and musicians that contribute, through their art, to events that shape our own lives. Sometimes, sad as it is, we feel that connection gives us the right to speculate and pass judgement. Even sadder, the media makes it virtually impossible to escape that proclivity.

I've seen it happening, on a very grand scale, with the madness surrounding the death of Heath Ledger. And on a smaller scale with Johnny Gallagher's departure from Spring Awakening and Old Springs Pike.

Every one of us, at one time or another, battles demons. And not a one of us is immune to tragedy. We make choices, or have them made for us, and those choices pave the road for our journey ahead. And when it comes to people we don't know personally, none of us is really qualified to decide if those choices are right or wrong.

Wouldn't it be great if we were all classy enough to quietly acknowledge life's tragedies with a simply placed black ribbon?

The Spring With All The Swings

The review below was written by request from DramaMama, an online friend of mine. Since Spring Awakening had several cast changes in the last month, I thought it might be of interest to the Junkies that read my blog. This review is unique in that it has not only reviews of the three new regular cast members, it includes reviews of three understudies that went on that night. Enjoy!

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January 1st was my birthday. For my birthday, my husband and I spent the evening doing some of the things I love to do most: having Japanese food and seeing Spring Awakening. And as luck would have it, our seats this time were the onstage variety, which gives this review its own flavor.

The first performance of Spring Awakening in 2008 had three new actors I was expecting: Kate Burton as the Adult Women, Glenn Fleshler as the Adult Men and Blake Bashoff in the pivotal role of Moritz, recently vacated by Tony-winner John Gallagher, Jr.. But then I was pleasantly surprised to see three swings listed on the understudy board: Matt Doyle as Ernst, Gerard Canonico as Otto and Jesse Swenson as Hanschen. I’ve seen both Matt and Gerard do roles in their tracks before but never Jesse.

Mind you, the last time I saw Spring was on December 9th, the show’s 1-Year Broadway-versary performance. The original Broadway cast was in it that night, save Gideon and a few swings, and it truly was the best I had ever seen it. That performance really warrants its own review, if I ever get around to it. So when I talk about Tuesday night’s show and the six new actor/role combinations, it really is comparison to that amazing show on the 9th, which is a tough one to be compared against.

When we arrived at the O’Neill, we went to store our stuff only to discover that one of our lockers was already occupied. Fortunately, we were able to smoosh it all into one locker and spared ourselves the hassle of getting the House Manager involved. So long as there wasn’t a butt in one of my seats, I didn’t care. As we made our way to our seats I spotted someone I thought I recognized from college. The college I went to over 10 years ago in small town Ohio. Seriously. And I only had two glasses of wine.

We settled into our incredibly comfortable wooden straight-back chairs (ha, ha) and listened to the spiel about leaving the stage and not tripping the actors. I was suddenly VERY conscious of my feet. Since all the girls went on, both Eryn and Alexandra made their way to the stage, while Gerard and Matt’s chairs remained unfilled. I scanned the audience to see if I could locate my college friend look alike. I did. But she didn’t look up. Enter Lea and the show began. Ah, bliss!

I think I will take the actor-by-actor approach to this review, focusing specifically on the performances that were new to me. Overall, the energy was a little less than contagious that night. I’m guessing that can be attributed to the fact that it was New Year’s Day and there may have been a late-night party or two on Monday night. Just maybe. Not excusing, just explaining.

It is no secret that I find Johnny Gallagher to be an incredible performer and I truly loved what he brought to Moritz. He has definitely left his brand on the role. I’ve seen both Gerard and Blake u/s Moritz and both interpretations have definitely incorporated some Gallagherisms. That is a compliment in its truest form and a testament to why Johnny won the Tony. I think Blake does a great job and, as he becomes more comfortable in the role, I’m hoping he will stretch his performing muscles even more. I think his vocals fit the show nicely – not too trained but then nothing spectacular either. Where he’s got chops is in the acting. The pacing between him and Groff during the Faust/”Touch Me” scene was great. And I loved the whole “Don’t Do Sadness/Blue Wind” scene - dialogue and song. He is definitely an intimate actor and sitting up close gave you a real sense of Moritz's character. I think Blake is still in the “by-the-book” phase of his performance in regard to vocals, blocking and character. He is taking direction at this point and hasn’t quite reached that comfort zone that comes with time. To be fair, he was working off of three understudies that night, so he had even more to focus on than when the regulars are on.

This was my first time seeing Kate Burton and, having read others’ reviews, I did not have high expectations. One of my friends said that the only way she could improve the production would be by leaving. My opinion is not that harsh. However, I agree with the general consensus that she needs to find the humor in the role. With Christine, there is also a sense of warmth that I did not get from Kate. Fortunately, the show is not about the Adult Women, and in the end she managed to progress the plot and convey her various roles throughout the story.

Thankfully, too, the play is not about the Adult Men. I really did not care for, Glenn Fleshler, the replacement for my beloved Stephen Spinella. What I liked about Spinella’s Adult Men was the everyman quality they had, which juxtaposed nicely against the harshness of his characters. It gave you a sense that no man is safe from the dangers of conforming to societal pressures. With Glenn, there is a physical presence about him that makes him come off oafish and bully-like. And he scowls a lot. And he was nasally. And why doesn’t he look like his headshot, DramaMama, why? OK - so I guess I didn't really like Glenn. But again, not about him.

And then there were the boys:

Matt Doyle, ever the consummate professional, was very focused and definitely hit his mark as Ernst. I got the sense from his blog that he doesn’t go on in his Ernst track very often. Vocally he was right on, which I know is his strong suit, so no surprises. He got quite a few laughs in the vineyard scene, which was nice to see, since Melchior doesn't get a whole lot of laughs. Of all of the swings, I love it most when Matt is in a role. I’d love to see his Georg someday. Hopefully before some other project sweeps him away.

The currently controversial Gerard Canonico, went on for Otto. Why controversial? There’s a message thread where a few people have their knickers in a twist about his behavior onstage when he’s not performing. So I made a point of watching him closely. I have to say, he was a great Otto. His “Touch Me” solo was great, I really liked his delivery of the “you’re just a fly” line in TF and he totally rocked BoL. And when he was in the sidelines, he was appropriately engaged. In fact, I found myself noticing bored looks on OTHER cast members’ faces, so maybe it is indeed a directorial choice. This is the third time I’ve seen Gerard in a role and I can safely say that that is where he shines and is probably where he prefers to be. But then, what actor wouldn't?

This was my first night seeing Jesse out of his Ensemble chair. I’ve seen JBW five times, so I was ready for a change. I have to say, I really liked his Hanschen. He seemed to get a few extra laughs during the Desdemona scene. And you can include Gerard amongst those, because he seemed to be enjoying the scene immensely. What I really liked about his performance was how well he captured Hanchen’s elitist attitude. He also gave Hanschen a slightly crueler edge, in both his line delivery and his physical presence. I definitely would like to see his in his Melchior track. I wonder is that call Jesschior?

As for the rest, nothing really stood out as exceptionally good or bad. I did find myself looking at shoes a lot. But then, I’ve seen it enough times that I tend to look at things that I normally would not be looking at when I’m at a Broadway show. I noticed that Kate has real boots, whereas Christine wore character shoes with those cloth covering things. That always bothered me. And why on Earth did Gerard have to wear girlie brown boots that look like something out of an 80s fashion magazine when all the other boys have black shoes? I mean really, guys, you have recouped, right?

I also noticed that in Melchior’s study scene, when he is writing in his journal, that he is writing with a ballpoint pen. And a pretty contemporary-looking one at that. I would think that ballpoint pens had not yet made their way to 1891 provincial Germany. I could be wrong, I’m not an expert in writing implements. Of course, one could argue that they didn’t have wireless microphones either.

While the first performance of 2008 was a markedly different performance than the December 9th show, it still found me resisting every temptation to leap out of my chair and scream “blah blah blah blah blah blah blah blah blah blah blah blah blah!” at the top of my lungs. There is just something about that score. And there are performers that are consistently good and most of them were there to ring in the New Year with a show that, ultimately, rocked!

So, I think I’ve had my fill of Spring for a while. Although I’m sure that I will find my way back before Groff and Lea leave. And I’ve yet to get onstage tickets for stage left. Funny, how I always find a reason to go back. But it won't likely be until March, at the earliest.

Oh, and as for that girl that looked like someone I knew from college? During intermission, I was standing by the bar, looked up and there she was. And it actually was her! Small, small freakin’ world, eh?

Even In Broadway's Darkest Moments...

This is just too cool not to share: Cast of SPRING AWAKENING Outside A Dark O'Neill

The recent strike initiated by Local One has left Broadway dark for a week now. As I sit here with my onstage seats for the November 27th performance of Spring Awakening, I am seriously hoping that everyone can come to an agreement. Seriously. Like you have no idea.

This video just explains so simply everything I LOVE about this show. That the actors sang for the fans says a lot. The way this cast connects with the fans and with each other is unreal. I read something about Patrick Page (a.k.a. “The Grinch”, “Mr. Paige Davis”) doing something similar for the kids outside the St. James. These are the people who get what theatre is about. **SMILE**

Some cool things to note in this video (for the true Junkies!):

* That is the uber-talented, Tony Award-winning Johnny Gallagher, Jr. accompanying on the guitar.

* Matt Doyle (u/s Melchior/Swing) was meant to go on as Melchi that night because Groff is off filming a TV pilot. And he is holding his new puppy.

* This is a nice treat for those of you who haven’t heard Blake's Ernst.

* Kim Grigsby is conducting (you can see her pink gloves pop into frame from time to time).

* And I believe that is Christine Estabrook between Matt & Johnny, enjoying the impromptu performance.

Let’s hope the lights become bright on Broadway once again and that these talented performers can get back onstage where they belong!

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!

They Didn't Get It

OK - it has been quite a while since I've posted. Mostly because my life in the summer is sheer insanity. Plain and simple.

I do have an RRS-Redux post that I'm keen to make but I'm not in the mood to go there today. I will be turning off that road in a few months and, I'm happy to say, there are definitely a couple of interesting stops along the road ahead. Stay tuned!

But today's post is about Spring Awakening. I have tried to ensure that my blog gives fair and equal attention to many things - theatre, film, family, life - so I took a break from pimping my favorite show. But I have come to a realization about this show and I wanted to share it.

First, because I only gave brief mention to the Tony Awards (8 of them, by the way), I want to say that I did indeed jump up and down like a little kid when Gallagher won for Spring Awakening. I haven't been that theatre geeky since crying during Daisy Eagan's acceptance speech. Sadly, my busy summer has precluded me from getting in to see many NY shows, so I've been suffering a bit of SA withdrawal. My sister, however, was watching the girls this week and noticed my "HAVEN'T YOU HEARD..." t-shirt and asked about it. Of course, that was like opening the floodgates. I promptly played "Totally Fucked" for her, which I knew she'd appreciate, and then I showed her the "Bitch of Living" video. Needless to say, we're going on Tuesday. My withdrawal symptoms go away and another Junkie is born, in one fell swoop!

So to my realization.

Several of my friends, younger and older, have seen Spring Awakening and I'm always anxious to hear their response. The show has met with varying degrees of favor among my friends. Most of them, as I do, love it - and several of them have seen it more than once. If a friend had a negative review I would usually rationalize it by saying that they were too old or too old-fashioned. Because usually statements like that fit. But it's more than that.

I have always been a fan of the rock musical. Those that think that Spring Awakening is breakthrough in that respect are wrong. In college, Hair was my rock musical of choice (and I loved Tommy, too!). And then Rent came along. I remember having very long debates with the Chair of the Department about the artistic value of Hair (whilst I was a student there) and Rent (when I went back to visit). He would drone on and on about how both shows were basically kids whining about everything that was wrong in their lives, with bad books and loud music. I would guess that he'd say the same about Spring Awakening.

Let's see... War, racial prejudice, drug addiction, child abuse, illness, depression, religious and parental oppression, pregnancy, sexual discovery, abortion, suicide... Yeah, I think kids have a right to whine, nay scream, about these things.

And HELL YEAH I think it should be set to loud rock music!

I then realized that Spring Awakening and its predecessors aren't about age. They are about passion. Perhaps the people that don't like these shows aren't passionate about these things. And maybe the music is too loud for them.

So when people say that they didn't get it, I'm glad that I can say that I did. Thank God that I remain passionate about the things that I was passionate about when I was 20. I'm sure the day will come when I don't get it and I'm screaming at them to turn it down... but that day is not today!

John Gallagher, Jr. Is My Only Friend

Everyone who knows me, knows that the best way to get in touch and/or keep up with me is via a computer. This blog, in fact, was the beginning of my public existence in cyberspace. For the longest time, it was my social network as I had avoided opening a MySpace account because it was too big.

Recently I found Facebook and it seemed more contained, less "out there." I love Facebook and it is my preferred network (God, I sound like a cell phone commercial)! ANYWAY - after discovering that MySpace is the preferred social network of many people, I took the plunge. I decided to brave the flood of Friend Requests from strangers "wanting to know my heart" and I set up a MySpace page.

Wanting to start small, I invited about six people. I anticipate that my network will grow and I know that my fledgling page will not look the same in a month's time. Therefore, I took this screenshot of my first add on MySpace:

For the people who know who Johnny Gallagher is, you know why this is both cool and amusing, since I only met him the night before.

And for those who don't know who he is... all I have to say is:

BLAH, BLAH, BLAH, BLAH, BLAH, BLAH, BLAH, BLAH, BLAH, BLAH, BLAH, BLAH, BLAH

BLAH, BLAH, BLAH, BLAH, BLAH, BLAH, BLAH, BLAH

BLAH, BLAH-BLAH, BLAH-BLAH, BLAH-BLAH

Go see Spring Awakening!

I Am A Junkie

And my junk is Spring Awakening.

It is 2:00am and I just returned from seeing it the first time. Given the hour, I am going to make this simple: GO SEE IT!

If you have not purchased or downloaded the recording - do so now! Most of the people that I know have said that they loved the music - regardless of how they feel about the production or the story. WARNING: Not a CD to be played around the kiddies... But you'll find yourself turning it up when they're not around!

Next, if you've not already done so, order your tickets so that you have the opportunity to see the original cast. It seems that the leads are in quite high demand so they will likely move on pretty quickly. It is also worthy to note that the entire cast, save Christine Estabrook and Steven Spinella, are under 21. Their boundless energy and incredible talent are amazing. You will find yourself on your feet. I know I did.

OK - I am tired now and tomorrow promises to be a long day but I promise to deliver a detailed review after I've had a nap.

Spring Awakening - A Video Lesson

OK - so I tried posting a YouTube video to my blog and it screwed up all the sidebar stuff, so I'm going to with a more traditional approach to giving you some insight into what I predict to be Broadway's next juggernaut. I implore you to get your tickets while you still can. I bought my ticket the day before they did their Letterman/The View junket. It's been years since I've anticipated seeing a show this much... I can't wait!

You gotta love a theatre season that sees Vanessa Redgrave and Angela Lansbury playing down the road from an angst-ridden rock musical about first-time plunges into sensual waters. Ya just gotta!

Here is a video journey for those that have not yet heard of or seen anything about this show.

- CBS Feature on Spring Awakening
- A&E Feature with a performance of the first half of "My Junk"
- Interviews with cast members and creators
- "Bitch of Living" video
- Cast performs "Bitch of Living" on Letterman
- Cast performs "Touch Me" on The View

And a rave review from Zach Braff on his blog never hurts... he seems like a cool dude.

A Life So Theatrical

Let's talk progress on my writing. No - wait. Let's not. What you are reading now is basically the most that I have written in months. The Harvest Home revision sits in my brain collecting dust. If I get hit by a bus tomorrow, only one person knows the story and I doubt that he could recollect it. I could be wrong... But I'd rather not wait and see. I will rewrite eventually - hopefully before that bus happens by.

So, what has been occupying my time? Well, I mentioned back in June that I had started doing theatre again. Of course, for me the theatre is like a warm blanket. Familiar, pleasant and soothing... despite its typical tragedies. The theatre invigorates me. So much that after stage managing Damn Yankees, I auditioned for, and was cast in, Stephen Sondheim's Assassins at TBTA. I played Emma Goldman and was in the Ensemble. I had so much fun! It was the first time that I had been onstage in 10 years! Marriage, children, jobs and the occasional bump in the road really never afforded the opportunity. It seemed that any time a role I wanted became available, the timing never worked out. However, the timing worked out that past September and I look forward to the next time the Moon is in the 7th House and Jupiter aligns with Mars.

The autumn brought a new position at work as a Database Marketing Manager. I really enjoy the job and the people that I am working with. It is also more analytical and strategic than my old job, so I get to use my brain (which my new boss once said was "as big as the planet" but I think he is prone to hyperbole).

I have also been elected to the Board at Musicals at Richter, which has been an interesting, challenging and rewarding experience all at once. I have been able to channel some of my marketing and database experience into my role on the Board, which has been a fun way to use my "day-job skills". For the 2007 Summer Season, I am also directing/choreographing a new group called Richter Rising Stars. It is going to a lot of fun because the repetoire will consist entirely of selections from contemporary musical theatre that premiered in 1985 or afterward. Why 1985? That was the year that Richter was founded! And these Rising Stars? They are the next generation of Richter! It will be, as Randy Jackson says, "The bomb, dawg!"

Currently, I am directing The Diviners at TBTA and sometimes things truly are better the second time around. Certainly my first experience will always be special and doing it again leads me down Memory Lane once or twice a night but the years have made a difference. And, of course, it is great to cast actors that are the actual ages. I am fortunate to have some very talented actors in the cast and look forward to how this rarely done play is received.

In other theatre news, I purchased my ticket to Spring Awakening and am so psyched to see it! I've watched all the You Tube postings, saw The View and have been listening to the soundtrack non-stop! I love it when a show breaks the mold, attracts young and old alike and becomes a sensation. I predict great things for this show - it is the Rent of this decade. I saw Rent a few times and will likely see this one more than once! It's a thing with me... a theatre geek thing.

Santa brought my husband and I subscriptions to the Roundabout, so we saw The Apple Tree with Kristen Chenoweth and are going to see Prelude to a Kiss tomorrow night! If I were diligent, I would review those. But when it comes to blogging, diligence has not been my strong point.

For those that have returned, thanks for keeping the faith!

For those that have stopped by for the first time, come on back, I might be here.

Peace.