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!

I Got Knocked Up for Valentine's Day

Seriously. And I wanted it.

Here's to a lovely Valentine's Day. Or as a friend likes to call it, Singles Awareness Day (SAD Day, for the lover of acronyms).

Regardless of your relationship status, as long as your day had chocolates, good company and cocktails, you've reaped the true rewards of this particular holiday.

As I Wish!

This morning, whilst perusing the Sunday paper, my husband was struck by the logo in the Best Buy flyer for the 20th Anniversary Edition DVD of The Princess Bride:

First, off, isn't that cool!?! I know it was released a couple of months ago but this is the first I'm seeing it. We've owned this on DVD for a few years and, according to a pretty amusing review I read, this is the fourth release. It's not surprising that this would have passed way under my radar. I love that the cover reads both upside down and right side up but I think the title logo is especially amazing.

** I'll wait while you attempt to turn your laptop upside down**

What has been on my radar, however, is the once-planned musical adaptation of the film. Prolific screenwriter William Goldman (Butch Cassidy and the Sundance Kid, All The President's Men) had teamed up with Tony Award-winning composer Adam Guettel (The Light in the Piazza, Floyd Collins). The talented team began work on the highly anticipated stage version of the beloved fairy tale and a well-received workshop of a few of the songs was held at Lincoln Center. Shortly thereafter, the two parted ways. It has been reported that Goldman wanted 75% of the authors' share of the profits, despite the fact that Guettel was contributing both music and lyrics.

Following the separation, Guettel returned to the comfortable arms of his Piazza collaborators, Craig Lucas and Bartlett Sher, to provide the music for Lucas' 20007 adaptation of Chekhov's Uncle Vanya. Hopefully, he will soon begin work on a new project that will guide him back to a deserved home on Broadway.

I know that many purists have had their fill of movies being transformed into musicals but the adaptation of this witty and heartwarming film has such tremendous artistic and economic potential. Hopefully, Mr. Goldman will take a break from writing the screenplay for Shazam! and pursue another composer. I would love to see what Joe Iconis would do with this classic film. Of course, I suspect that he wouldn't settle for 25% ownership, either.

Favorite (And Not So Favorite) Things

It has been a rough February on Broadway, as pointed out by my blog buddy Chris. The slowdown on ticket sales often comes with casualties, including Rent, The Fantasticks and The Color Purple. In an effort to inject attendance, The Broadway League sponsors Kids Night on Broadway, where select shows and restaurants offer buy one, get one with a paying adult.

As a result, I get to do one of my favorite things. Go to the theatre with my daughter. Tonight's dalliance? Hairspray, which I haven't seen yet. I've seen the original film and the movie musical but never "live on stage" (as my kids say). A full review of the evening and a word or two about the show is forthcoming.

And then tomorrow I get to do a not so favorite thing... Find out if I broke or tore something in my ankle when I fell down the stairs a few days ago. *sigh*

It's always something, ain't it?

A Lethal Cocktail

Chief Medical Examiner's Report: Heath Ledger, Cause of Death

Now we know. May he rest in peace. And may his family, Michelle Williams and his daughter, Matilda, one day find it.

All Memes Theatrical

Start a good meme and I am all over it like white on rice. It requires a different kind of thinking: the "let's travel down memory lane" kind of thinking instead of the more labor-intensive "let's write a blog post from scratch" type. I elaborated a little to make a little room for the non-musical and I added a couple.

• The first musical I ever saw on Broadway was: A Chorus Line (1985)
• The first play I ever saw on Broadway was: Cuba & His Teddy Bear
• The musical I would most like to see again is: Parade
• The play I would most like to see again is: August: Osage County
• The musical I never want to see again is: The Red Shoes
• The play I never want to see again is: Indiscretions
• The best female performance in a Broadway musical I’ve ever seen is: It is a tie between Chita Rivera in Kiss of the Spider Woman or Audra McDonald in 110 In The Shade.
• The best female performance in a Broadway play I’ve ever seen is: Deanna Dunagan in August: Osage County.
• The best male performance in a Broadway musical I’ve ever seen is: Michael McElroy in Big River or John Gallagher, Jr. in Spring Awakening.
• The best male performance in a Broadway play I’ve ever seen is: Billy Crudup in The Pillowman or Robert DeNiro is Cuba & His Teddy Bear.
• The person I wish they never cast was: Musical: Jerry Lewis in Damn Yankees; Play: Kathleen Turner in Indiscretions.
• The person they should have cast was: In Damn Yankees, Alan Rickman. In Indiscretions... it wouldn’t matter because the play is terrible!
• My favorite Broadway choreography was in the show: All time? Pippin (Bob Fosse) or West Side Story (Jerome Robbins). That I've seen? Crazy For You (Susan Stroman)
• The lyric/line that always brings a lump to my throat is:
  He went to you for guidance
  You hid behind a screen
  Knowing how much empathy might mean
  Do you know how much he loved...?
  Did you know how much he cared...?
  Lost in the teachings was a boy so all alone and scared
  Father, we were so in love!
  And that's what I find so odd
  Our love was pure and nothing else
  Brought me closer to God
  (from "Absolution" in bare: the musical)
• The stupidest lyric/line I’ve ever heard is:
  I’ve written a play, Mr. Jaffee
  An average conductor’s day, Mr. Jaffee
  It’s all about life on a train
  I call it “Life On A Train”
  (from "I Have Written A Play" in On The Twentieth Century)
• The first musical I had to go back and see twice was: Les Miserables
• The first play I had to go back and see twice was: Cuba & His Teddy Bear
• The first show I ever walked out of was: Walk out? Are you kidding? I paid good money to see that drivel!
• The most under praised and overly deserving musical in my opinion is: Violet by Jeanine Tesori and Brian Crawley or A New Brain by William Finn.
• The most under praised and overly deserving play in my opinion is: The Diviners by Jim Leonard, Jr.
• The most overly praised and under deserving musical in my opinion is: Dirty Dancing
  The most overly praised and under deserving play in my opinion is: The Farnsworth Invention
• The song show tune I’m most likely to sing while I’m dancing around at home is: "Totally F*cked" or "Bitch of Living" from Spring Awakening
• If I could recast any role in a current Broadway musical with a performer of the past it would be: Marilyn Monroe as Kira in Xanadu
• If I could recast any role in a current Broadway play with a performer of the past it would be: Judy Garland as Violet in August: Osage County
• If I could recast a current actor in a Broadway musical that was before their time it would be: Kerry Butler as Eva Peron in Evita
• If I could recast a current actor in a Broadway play that was before their time it would be: John Gallagher, Jr. as Alan Strang in Equus
• The musical they should never change a word of because it is already perfect is: Les Miserables
• The play they should never change a word of because it is already perfect is: A Streetcar Named Desire
• The show I'd most like to get my hands on and rewrite is: Hmmm… There are three with music that I love but are widely criticized for having a “bad book” – I guess I would tackle those. They are Hair, Chess and Merrily We Roll Along.
• The non-musical role I was born to play on Broadway is: Now? Becca in Rabbit Hole or Barbara in August: Osage County. Down the road? Violet in August: Osage County or M'Lynn (and later Ouiser) in Steel Magnolias.
• The musical role I was born to play on Broadway is: Adult Women in Spring Awakening or Calliope in Xanadu.
• The last standing ovation I enthusiastically gave for a musical was: The December 9th performance of Spring Awakening (their one-year anniversary on Broadway).
• The last standing ovation I enthusiastically gave for a play was: August: Osage County. Easily.
  

I Wish I Had Been There

If you haven't already seen this footage on YouTube, then I've done you an incredible service by posting this video for you. It is amazing what a little creativity and manpower can accomplish.



For further information about the Improv Everywhere and their "missions", click here.

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 Masterpiece That Is August: Osage County

** SPOILER ALERT **

In a year when the play is the crowned jewel of Broadway, I have found myself watching actors get their story on without having to break into song. Although, oddly enough, several of those actors did dance since four of the plays I saw had fairly impactful and deliberate music. Yesterday's "play with music" was this little ditty of a tale called August: Osage County. The Steppenwolf production of Tracy Letts' dysfunctional tour de force had an advance of $3M, has just extended its run, is guaranteed a bevy of Tony Awards and will most likely garner the Pulitzer.

Our rear mezzanine seats came complete with militant usher. Or as my husband likes to refer to her, the preshow. As she deftly sat her audience, she referred to the rear mezz as "her section." I am pretty sure this woman has guided me to my seat before. Not sure if she was an Imperial Theatre staple or not. I would have loved to see her wrestle the digital camera from the unsuspecting woman snapping a photo. "That is copyrighted material!" shouted our usher, gesturing toward the stage at the three-story set which, truth be told, is the real preshow.

The family tree in the Playbill suggests you might want to get familiar with the lay of the land before you head on over to the Weston house. After studying the house and the hierarchy, I felt eager with the anticipation of what lay ahead in the next 3 hours and 20 minutes.

Act 1. Scene 1. Patriarch Beverly Weston, portrayed by the playwright's father Dennis Letts, delivers a whiskey-soaked speech about the state of affairs in his Oklahoma home. For the quiet Johnna (Kimberly Guerrero), the poet/professor paints a brutally honest picture of life amidst his books and his bottle. That picture comes further to life in a brief interruption by his pill-popping wife, Violet (Deanna Dunegan). After Violet recoils and retreats to sleep off her drug-induced stupor, Beverly hires the girl as their housekeeper, or more appropriately, their caretaker.

Days later, Daddy Weston journeys into one of those sultry August nights, never to return. Enter the family, descending like vultures upon that house in the plains, with its window shades sealed with tape. First dysfunctional lot to arrive, Violet's belittling sister Mattie Fae (Rondi Reed), her immasculated husband Charlie (Francis Guinan) and the Weston's "lost child", Ivy (Sally Murphy), who is geographically predisposed to keeping an eye on her parents.

However, it is Barbara (Amy Morton), the eldest Weston daughter, whose arrival Violet awaits before emerging from her cave. With her pot smoking daughter (Madeleine Martin) and philandering husband (Jeff Perry) in tow, Barbara takes the reins of this careening apple cart while navigating her mother's venomous tongue. One the apple cart is settled, or passed out, She and her husband prepare for bed. After her husband dismisses her father's disappearance as a bender, she pronounces, "My father's dead!" and turns her back on her husband. Deep into that peaceful night's slumber, the household is stirred by the flashing lights of the sheriff's patrol car and the news of Beverly's death. Sheriff Gilbeau (Troy West), who happens to be a former beau of Barbara's, asks the family for someone to accompany him to the morgue to identify the body. Unable to awake Violet from her Darvon haze, a bereft and unwilling Barbara leaves with the sheriff.

Following Beverly's funeral, Karen (Mariann Mayberry), the youngest of Vi and Bev's offspring, helps her sister prep the table for the post-funeral meal. Barbara, thirsty for her wine, listens to her sister spout platitudes of self-help. Meanwhile, Violet attempts to coax the mousy Ivy into a beguiling dress. Under her mother's icy gaze, Ivy declares that she has found someone. We soon discover that this someone is, in fact, her first cousin, diminutively called Little Charlie (Ian Barford). The men, including Karen's lecherous fiance Steve (Brian Kerwin), return with the wine and everyone begins to drink.

Young Jean, who spends the majority of the play tuning herself out, immerses herself in Lon Cheney's Phantom of the Opera. The television, invisibly the down center focal point, serves the escape route for several characters throughout the evening. Karen's fiance, also attempting to allude the madness, bonds with Jean. He notices the lingering aroma of marijuana and promises the 14-year-old a Florida variety like none other she's tried. Later.

The family is called to dinner. And with alcohol and painkillers lubricating the wheels on the locomotive that is Violet Weston, we watch this train wreck of a family eat a meal. In real time. Haunted by the ghosts of her own past, Violet picks and claws at everyone until there are nothing but bloody caracasses at her feet. Like many meals with a kids table and ample amounts of alcohol, it does not end well. In fact, it ends with Barbara wrapping her fingers around her mother's throat.

Desperately trying to take charge of a situation more volatile than a tsunami, Barbara orders her family to scour the house for Violet's pills. Secret after secret comes tumbling out of drunken mouths while the women reminisce, the men play cards with Jean and Little Charles watches television. Suspicious that her son has become intimate with Ivy, Mattie Fae divulges a secret of her own to Barbara and then saddles her with the responsibility of telling her sister. Hours later, with the household fast asleep or passed out, Steve and Jean share a joint. Confident that Jean's judgment is significantly impaired, Steve asks her to show him her breasts. In a vain attempt to lure her more, he offers to show her his wares. He turns off the light and there is an uncomfortable moment of darkness that is quickly interrupted by Johnna and her buzzkilling frying pan.

The powder keg now exploded, the family begins to abandon ship, wagging their accusing fingers all the while. Ever quixotic, Karen states her intent to remain with her pedophiliac fiance because, after all, she will be honeymooning in Belize.

Before Bill leaves with Jean, in a rare tender moment, Barbara asks him if he is ever coming back. When he answers as she anticipates, she bemoans herself for being a failure. As a wife, a mother, a sister. But she says nothing about failing as a daughter. Just as with Beverly's omnipresence, Letts makes the most poignant statements with elements that are unseen or unheard.

In the final round, Vi delivers a one-two punch: you need to stop canoodling your brother and, yes, I knew. Ivy retreats in horror and despair, leaving Barbara alone with Vi. In a gasp eliciting moment, Violet's forked tongue lashes at Barbara, accusing her of being responsible for her father's death. Numbed by the realization that she has indeed become her mother, Barbara takes the keys from her purse, stumbles out onto the porch and leaves. Headed for anywhere but there.

In his play, Letts brings to life the adage that we either become our parents or marry them. For many, that metamorphasis is one that is gladly endured. For the Westons, however, it a downward spiral of devastation, with no bottom in sight.

There is not a weak link among this cast comprised mostly of Chicago-based actors. I did, however, recognize Kimberly Guerrero from the Cigar Store Indian episode of Seinfeld and I did see Madeleine Martin as the cross-bearing daughter from The Pillowman. However, she was silent in that production and in August I found her voice to be a little nasal and grating at times.

The men, who could have easily been swallowed up by the massiveness of the female characters, should not be dismissed as the lesser sex in this estrogen charged story. Each of them helps the women to navigate the tumultuous Weston waters with great aplomb. Most notable, the gentle delivery of Dennis Letts' lonely professor and Jeff Perry's resolved Bill.

While all of the women have their shining moments throughout the performance, without doubt the most scintillating performances come from Deanna Dunegan and Amy Morton. From the frenetic highs to the devastating lows, they attack these meaty roles with no fear. Because of their flawless performances, you leave the theatre filled with Violet and Barbara's pain and drained by their sorrows. The 2008 Tony Awards will find these ladies in a head-to-head battle for Best Actress in a Play. Dunegan will most likely walk away with the award but it will be a close race.

Subject matter notwithstanding, August: Osage County is riddled with classic one-line zingers, too numerous to single out a favorite. Thankfully, amidst all the tragedy, Letts gives you the opportunity to experience the greatest emotion to be felt in a theatre: laughter through tears. In fact, during each of the intermissions, the 9-year-old girl that sat behind us kept telling her parents how funny she thought it was. Yeah. I'll give you a moment to digest that...

The limited run engagement of August: Osage County closes on April 13, 2008. While this masterpiece is bound to live in perpetuity at regional and community theatres, I implore you to make every effort to experience this life-altering piece of theatre during its Broadway run.

But please, leave your 9-year-old at home.

Told Ya So, Told Ya So!

In a January 16th post, I made reference to a few shows whose grosses were similar to those of the soon-to-be-closing Rent:

I noticed a few musicals with attendance hovering in the 40th to 50th percentile, including The Color Purple, Legally Blonde and Xanadu. However, it was Rent's 54.5% attendance that prompted me to say to my husband, "Rent is going to close soon." I'm serious. I said this just last night!

Then lo and behold, today's headlines on Playbill.com announced that the award-winning rock musical will take its final bow at the Nederlander on June 1st. This comes as no surprise, really, following the summer's stunt of bringing the original leads, Adam Pascal and Anthony Rapp, back into the fold. Jumping the shark is always a sign of things to come. I predict a similar fate for Oprah's The Color Purple."

Yes, you heard it here, folks, just 9 days ago. No insider information, just a knack I have, I guess. And now it's official. Tickets to see the show before it closes on February 24th can be purchased here.

A Recipe for Good Times

In times when the television is plagued with coverage of tragic breaking news, political hijinx and a troubled economy, I am so very thankful for diversions that bring you to a happier place. The question, then, is which of these diversions provides the greater promise of Nirvana?

1

The new Xanadu commercial (click image below to view)

2

The Old Springs Pike/Elizabeth & The Catapult concert in Boston

3
Joe Iconis announcing a new ROCK N ROLL JAMBOREE gig at Joe's Pub
(click image for details and to order tickets)

My recommendation? Combine all three, shake vigorously and serve straight-up! And we'll call it a Nirvana Cocktail!

Gone Too Soon

On the day the nominees for the 80th Academy Awards were announced, actor Heath Ledger was found dead in his Manhattan apartment. The apparent cause of death was a sleeping pill overdose. Ledger, who was nominated for an Oscar for his riveting portrayal of the tortured Ennis del Mar in Academy-award winning film Brokeback Mountain, is reported to have been sick with pneumonia.

Ledger recently wrapped the latest Batman installment, The Dark Knight, where he recreated the character of The Joker opposite Christian Bale. Ledger was filming Terry Gilliam's The Imaginarium of Dr. Parnassus with Christopher Plummer when he passed away. He was the father of a 2-year old girl, Matilda, for whom he shared parenting responsibilities with actress Michelle Williams. The couple recently were recently separated following an engagement to be married.

As with the death of River Phoenix , James Dean and others who leave us too soon, I am profoundly saddened and shocked by this sudden and terrible loss to the entertainment community.

Misunderestimated in Hollywood

What do you get when you combine Oscar-winning director Oliver Stone (JFK, Nixon, Born on the 4th of July, Platoon) with scribe Stanley Weiser (Wall Street, Rudy: The Rudy Giuliani Story)?

BUSH

In a deal inked in Hollywood on Sunday, a feature film based on the life and presidency of George W. Bush is coming to a theatre near you. The script, with working titles that included POTUS (President of the United States) and Misunderestimated, was finished prior to the WGA authorizing the strike in Hollywood. It has been reported that Stone is in talks with No Country for Old Men star Josh Brolin to portray the president.

Oops, sorry...

And the California caucuses are when? Two weeks, you say?

Holy Genius, Batman!

Life really does take you on a fascinating ride sometimes, twisting and turning (sometimes loop-de-looping) through the years. And just like a roller coaster, life is comprised of a series of connected tracks that ultimately end up guaranteeing a thrill!

My own personal thrill ride has led me here:

I know that there are a few of you that are saying, "Oh, yeah, Joe Iconis. I heard of him like, you know, yesterday." But for those of you that have never heard of him I say this:

"Go to his Web site. Download his music. Watch the videos
on YouTube. Buy tickets to his shows. And simply bask in the the amazingness that is Joe Iconis!"

For instant gratification, click here to see the fierce Krysta Rodriguez perform "Blue Hair" from Iconis' work Black Suits.

Bask, I tell you, bask!

Rent: Paid Up and Movin' To The Burbs

In life, timing is everything. There are many occasions in my life where I am struck by my own personal sense of timing. Last night I was perusing Steve On Broadway's blog when I was struck by his observations about the extension of August: Osage County, the weight that straight plays are carrying and the Broadway grosses for the week ending January 13th. I toggled over to the report and started to scroll down to look at the "big picture."

I noticed a few musicals with attendance hovering in the 40th to 50th percentile, including The Color Purple, Legally Blonde and Xanadu. However, it was Rent's 54.5% attendance that prompted me to say to my husband, "Rent is going to close soon." I'm serious. I said this just last night!

Then lo and behold, today's headlines on Playbill.com announced that the award-winning rock musical will take its final bow at the Nederlander on June 1st. This comes as no surprise, really, following the summer's stunt of bringing the original leads, Adam Pascal and Anthony Rapp, back into the fold. Jumping the shark is always a sign of things to come. I predict a similar fate for Oprah's The Color Purple.

Jonathan Larson's musical, which boasts the credential of being the 7th longest-running musical in history, is deserving of its place in Broadway's timeline. Many compare my adored Spring Awakening to Rent. Largely, in my opinion, because it is a rock musical based on a previously written work that embodies many controversial subjects. I also feel it bears its similarity in the number of young theatrical careers that have been launched by it. The OBC included Pascal, Rapp, Idina Menzel, Taye Diggs, Jesse L. Martin, Daphne Rubin-Vega and Wilson Jermaine Heredia, who won a Featured Actor in a Musical Tony for his portrayal of Angel. I predict similar big things for the OBC of Spring Awakening. You heard it here.

So, to the Production of Rent, I tip my hat. Your seasons of love have been an incredible journey for us. Thanks for bringing us along.

Take A Look In These Big Blue Eyes...

Capitalizing on the success of Hairspray, Broadway may have another winner with Cry-Baby, the latest musical adaptation of a John Waters film. Recent headlines indicate that the quirky 1950s musical will take residence at the Marriott Marquis, recent home to The Drowsy Chaperone, which sadly closed before I was able to honor the tickets I had in hand for February.

Photos of newcomer James Snyder are included in both of the articles that I read but this photo in particular caught my eye:



While James is a newcomer to Broadway, my introduction to him was via the definitive recording for bare: the musical. When I saw the above photo, I thought: “WOW! Those eyes are really blue!” I didn’t recall his eyes being that blue when I watched the DVD that accompanied the recording.

I then recalled a post I read from an online friend of mine about a lyric change in “You and I” in the bare recording. The lyric that several of us have become familiar from the sample CD is: “feel the beat of my racing heart and you’ll understand”. However, in the studio recording, this lyric has been changed to “take a look in these big blue eyes and you’ll understand”. So I thought, maybe James Snyder has really blue eyes and that’s why the lyric was changed.

But guess what!?!


So I’m befuddled. And I agree with my friend, the “racing heart” lyric says so much more. But I will save those observations for my very overdue review of bare.

Regardless of the color of the eyes doing the crying, I am very pleased to see that Cry-Baby has had good out-of-town notices and I will definitely make a point of seeing James in his Broadway debut. I was an early Johnny Depp fan thanks to 21 Jump Street so I have recollections of seeing this film on the big screen. Depp’s recent award-winning turn in the title role of Sweeney Todd has several people referencing his early days in a rock band. Similar references were made when Cry-Baby was released in 1990, since he did his own vocals as the Elvis-influenced bad boy of Baltimore. His vocals and the musical numbers must’ve been all right because somewhere I have the soundtrack on cassette. And since I have the soundtrack to Xanadu on vinyl, that could be a good omen for Cry-Baby…

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?

The Bonus of Sweeney Todd

OK - I am definitely behind when it comes to my posts. There are film reviews, theatre reviews, stories to share, Golden Globe nominations... the list goes on. As usual, there is no time to write. I'm hoping that next week's vacation will afford an opportunity or two.

Among the list of backlogged reviews is my review of Sweeney Todd. Of course, I really feel the film warrants a post all its own. HOWEVER - I wanted to share this little nugget from my outing to the cinema. Prior to the Feature Presentation, they played the trailer for the film version of Mamma Mia! While I'm sure that musical theatre purists with slay me for saying so, I am looking forward to this move to the big screen more than I was to Sweeney's. That is primarily because I just loved Mamma Mia! - jukebox musical fluff that it is - and I've never had a true love of Sweeney. Of course, comparing the two is, really, just silly.

But I digress...

The trailer that I saw in the theater is certainly lots of fun but I prefer the one on the Mamma Mia! The Movie Web site because it has a couple of scene clips, in addition to the montage set against the title song. While I was skeptical when I heard Meryl Streep was playing Donna, after seeing the preview I have much higher hopes. I do like seeing her in more comical roles and that is not something that happens too often. And Colin Firth, one of my FAVORITE actors, is just an added perk!

Honestly, I just can't wait!