O Sondheim, Where Art Thou?

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

** 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

1. 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.
2. 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.
3. 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.”
4. 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!
5. 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!
6. 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.”
7. 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.
8. 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

1. 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.
2. 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.
3. 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.
4. 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.
5. 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

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?

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

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

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

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

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?

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

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")

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

I absolutely love it!

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

Speechless

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

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.

RELATED ARTICLES:

Playbill.com

Broadway.com

Broadway World

TheaterMania

Hey, Old Friend!

One of my absolute favorite things is live theatre. Undeniably. During my formative years, my father, an English professor and Shubert Playwriting Fellow (that sounds cool, huh?), directed all the shows at a branch campus of the University of Pittsburgh. Essentially, I've been around theatre and theatrical types since birth. It has been the constant in my life that has led me to some of the most incredible experiences and people a person could imagine.


The other night, one of those incredible people and I ate lo mein, drank coffee and talked theatre. For about four hours straight. Local dish. Broadway dish. Who's doing what. Creative concepts. I mean it is down and dirty theatre talk and it is not for the faint-hearted. Please understand, I have amassed a lot of knowledge in my 40 years but this guy makes my head spin.


Example...


Starting next month, I will be directing the musical version of Peter Pan at a local theatre. Being the diligent artisan that I am, I was re-reading the script a few days ago. I was actually in Peter Pan a couple decades ago and my memory has admittedly faded a bit. I just didn't remember Liza, the maid, prancing about Neverland. Neither did my husband, who also thought Liza seemed a little out of place when he was reading the script. We quickly concluded that the actress who played Liza must've been sleeping with the producer. I then made a mental note to look the actress up on IBDb.


So the other night I was relaying this amusement to my walking-theatre-encyclopedia-of-a-friend and he says: "Oh, you mean Heller Halliday? She was Mary Martin's daughter with Richard Halliday, Peter Pan's producer!" He just pulls these names out of his bum and there goes my head spinning every which way but loose.


He is just one of those people that gets me. He makes me think of a Sondheim lyric from a favorite show of ours:

Hey, old friend
What d'ya say, old friend?
Are you okay, old friend?
Are we or are we unique?

Time goes by
Everything else keeps changing
You and I, we get continued next week

Most friends fade
Or they don't make the grade
New ones are quickly made
And in a pinch, sure they'll do

But us old friends
What's to discuss, old friend?
Here's to us!
Who's like us?
Damn few!

(And yes, we talked about John Doyle's Watermill production of our beloved Merrily, seen during my recent trip to England.)

I enjoy my time with my old friends. It is true, also, that new ones are quickly made. Even our oldest friends, if you think about it, were new friends at some point. I've made several new friends in the past year. A few of them actually feel like old friends. I think it is because they get me.

This weekend I will be seeing John Waters' new musical Cry Baby with a few of my blogospheric theatre friends and then joining them for brunch on Sunday. Though we've never met, the signs all indicate that future old friendships will be made. And what better way to forge those bonds than over a show, a cocktail and a spirited theatrical discussion? Top the weekend off with a Sunday matinee of Joe Iconis tunes and you basically have the equivalent of a theatre geek's wet dream.

With that, I will take my leave and prepare for an awesome weekend.

And here's to friends, old and new, that get you.

Rumors From The Swamp

I am very selective about what news I post on my blog and when I post it. There have been times when I’ve heard inside information and, out of respect for the informants, I wait until the news is official. I feel it is the classy thing to do.

However, when I hear or read something and it is, as far as I’m concerned, nothing more than a rumor, I feel compelled to share. Since I am sincerely looking forward to Shrek: The Musical, I have been keeping a close eye on its progress. Others anticipating the big green guy’s move to Broadway have been waiting to hear casting decisions for the eponymous role and his chatterbox sidekick. At the stage door for Next To Normal, Brian d’Arcy James was overheard stating that he, in fact, will be portraying the loveable ogre.

Yes, DreamWorks, if this rumor is true, I’m still buying what you’re selling!

Scouting for Girls

One of the "perks" of my job is the occasional trip to the UK. A favorite thing to do when in Great Britain is to listen to Virgin Radio and discover new music that hasn't yet made its way across the pond. A trip last year produced a bounty of discoveries: Razorlight, The Feeling and The Fratellis, all bands that haven't yet made their way to true US popularity. Sadly, my last few transatlantic journeys have left me with nothing to add to my iPod. This time around, I am happy to report, the drought is over!

Scouting for Girls, a three-man band from London, released their self-titled debut album in September. It has since gone platinum and their future continues to look bright. While it was "Elvis Ain't Dead" that first caught my attention, its predecessors, "She's So Lovely" and "It's Not About You", are equally as catchy.

So, check it out and then download their tunage! You'll be glad you did.

Official SFG Fan Site
Unofficial SFG Fan Site
SFG on MySpace

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.

Why Can't I Be Three Places At Once?

I don't know what it is about Mondays but they sure are busy amongst the performer community (probably because it's a primarily dark night on Broadway). If you are in New York City and are looking for something to do other than watching New Adventures of Old Christine, try one of these events on for size. I would love to be at all three... but will definitely be at one of 'em!

1. Spring Awakening's Lea Michele in Concert at Feinstein's.
2. Reading of the The Bird and the Two Ton Weight, a play based on PAN AM Flight 103, making its conversion to film. The reading is at Lubin House and features a few folks from Old Springs Pike.
3. Matt Hinkley, whose CD releases on March 19th, is playing at Crash Mansion.

So get out and have a grand ol' time. Julia will wait for you... that's what DVRs are for!

A Day With Sondheim and Oscar

On this day in history the television schedule will see the union of two things that I enjoy to distraction: theatre and film.

Distraction Numero Uno:
Today, at 2:00pm EST, PBS Great Performances will broadcast an encore presentation of John Doyle's revival of Sondheim's Company. I was fortunate enough to have seen Raul Esparza in his Tony-nominated Broadway turn as confirmed bachelor Bobby. His talent was unquestionable and his interpretation of the role was multi-layered and very real. However, I think I need to see the show once more to decide if, as a whole, I like it or not. This was the first time I'd seen it. And I have to say that the performers playing the instruments made it a slightly frenetic experience. When you're already trying to take in the story, the music and the adaptation, the onstage orchestra is a bit overwhelming. I think seeing it once more will tilt the scale one way or the other.

You see, I usually have love/hate reactions to Sondheim's work. I always appreciate their cleverness and musical precision but I can't say that I necessarily "respond" to all of his shows. I'm not a huge fan of the universally popular Sweeney Todd or Into The Woods but I love Assassins and Merrily We Roll Along. In fact, I was inordinately pleased to learn that a rumored revival of Merrily is getting legs in the press. I also find it interesting that the Roundabout is in talks with James Lapine to direct and not John Doyle, whose current revival is booking in the UK through March.

Incidentally, for those of you who are fans of both Raul Esparza and Merrily We Roll Along, check out this clip from the Kennedy Center's Sondheim Celebration. Perhaps Raul's established relationship with the Roundabout and with the show will afford him the opportunity reprise the role of Charley Kringas. Or perhaps he will give Frank Shepard a whirl? I'm certainly anxious to find out...


Distraction Numero Dos:
It's Oscar night and the writers are back! I will take this moment to use what Merriam-Webster OnLine has determined to be the 2007 Word of the Year: W00t!

As I shamefully place my tail between my legs, I have to say I don't know much about this year's nominated films. I have not seen a single Best Picture nominee. In fact, out of all of the nominated films tonight, I've only seen Sweeney Todd (ironically enough), The Savages, Across The Universe and Enchanted. As such, I will not even attempt predictions, as they would be primarily based on media coverage or my opinions of the nominees' body of work.

Even still, I will be plopping my ass down on the couch this evening to soak in the glitz and glamour of Hollywood's most talked about evening. It will begin with Barbara Walters' well-rounded line-up, which will certainly appeal to the celebrity-hungry: Miley Cyrus, Harrison Ford, Vanessa Williams and Ellen Page. Then Jon Stewart will host the first scripted awards show since the writers return. Watching the fruits of their two weeks' labor unfold before a script-starved Hollywood (and America) should be very entertaining. But then, the Oscars rarely disappoint.

So, if you will, join me in my couch potatodom. And may you enjoy your little nibbles of Broadway and Hollywood on this day in television history that any self-respecting theatre/film geek would describe as "way cool!"

Double w00t!