Opening A Christmas Carol, or: I shall return
On hiatus as I open my first show since this summer. I'll be performing in San Pedro Playhouse's production of the Alan Menken/Lynn Ahrens musical version of A Christmas Carol. We open on Saturday night. I play Jacob Marley. I am totally busy. I'll be back though. Promise.
Theater Tidbits, or: an excuse for bullet posting
- To Be or Not To Be has come and gone. And nobody even noticed.
- Marcy Harriell begins her run as Vanessa in the Tony-winning musical In the Heights starting tonight. She's been in previews since the 15th.
- Tony Award winner Elaine Stritch will again portray the mother of Alec Baldwin's character Jack on the Emmy-winning NBC comedy series 30 Rock. The veteran actress will appear on the Dec. 11 episode, which is titled "Christmas Special."
- This is from the Nov. 11 episode of The View on ABC. I'm sorry, that Kiril kid is a fabulous dancer, but his singing is making me wanna take a poop on my television. Not to be mean-spirited.
- Get your DVRs ready!
- Two-time Tony Award nominee Jayne Atkinson has joined the cast of the eagerly awaited revival of Noël Coward's Blithe Spirit as Ruth Condomine, which will begin performances at the Shubert Theatre Feb. 26, 2009. I guess my wet dream will not come true. :-( Oh and lest I forget, Christine Ebersole is nuts!! That's harsh. But she is.
Small New Musicals to Make It to Broadway, or: defying the odds
***This was supposed to be posted on Nov. 12. I have no idea what happened. Never late than never. Here ya go.Some good news for those who are afraid behemoths like Shrek and Billy Elliot will leave smaller shows out in the dust:
Despite increasing unreliability and turmoil with the economy, it seems that the new musicals Vanities and The Story of My Life are still gearing up for Broadway engagements early in 2009.
Early today, the producers for Vanities, A New Musical announced they will play Broadway's gorgeous Lyceum Theatre starting February 2, 2009 and officially open the 26th of the same month.
The tuner by Jack Heifner, with music and lyrics by David Kirshenbaum, directed by two-time Tony Award winner Judith Ivey (who I heart), is a musical version of Heifner's popular '70s play about Texas cheerleaders who come of age between the 1960s and 1980s. The cast consists of a talented trio of actresses: Lauren Kennedy as Mary, Sarah Stiles as Joanne, and Anneliese van der Pol (the only good thing about TV's "That's So Raven") as Kathy.And in more news for small musicals, The Story of My Life, with music and lyrics by Neil Bartram and a book by Brian Hill, has made sure that it will be playing a not-yet-announced Broadway theater by way of a casting notice seeking an understudy for the roles of quirky bookstore owner Alvin Kelby and best-selling writer Thomas Weaver, who is creatively blocked as he attempts a tribute to his friend. As in the recent Goodspeed Musicals developmental run of the show in Connecticut, Alvin will be played by Malcolm Gets and Thomas will be played by Will Chase.
So an all girl cast of 3 and an all guy cast of 2. Hopefully these shows will follow more in the suit of the popular Xanadu and [title of show] and not follow in the footsteps of Glory Days. Even though Xanadu and [tos] weren't entirely successful commercially, they were creatively and artistically superior to much of the dreg that his been plaguing Broadway for a while.
And speaking of [tos], if Hunter gets his wish, where will the return of my favorite 4-person musical play now that the Lyceum is being occupied by an even smaller show?
Opening Night Reviews for American Buffalo, or: DidHeLikeIt? Not so much.
***My day was jam-packed yesterday and I didn't get a chance to post an opening night capsule for American Buffalo.Last night marked the revival opening of David Mamet's American Buffalo at the Belasco Theatre.
Robert Falls directs Tony-nominated John Leguizamo as Walter Cole, Cedric the Entertainer as Donny Dubrow, and Haley Joel Osment as Bobby. The opening of the revival is also Cedric's and Osment's Broadway debut.
And while the reviews for that other Mamet revival currently treading the boards were mainly positive, American Buffalo seems to not be opening up to the same critical success. Here is a compilation of review capsules from DidHeLikeIt.com:
NEW YORK TIMES REVIEW: "Ssssssssst. That whooshing noise coming from the Belasco Theater is the sound of the air being let out of David Mamet's dialogue. Robert Falls's deflated revival of Mr. Mamet's American Buffalo - which opened on Monday night with the mixed-nut ensemble of John Leguizamo, Cedric the Entertainer and Haley Joel Osment - evokes the woeful image of a souped-up sports car's flat tire, built for speed but going nowhere.." 
USA TODAY REVIEW: "Tenderness is not the first quality one generally associates with David Mamet. But really study his characters, and you'll find that many are drawn with sympathy and even affection."ASSOCIATED PRESS REVIEW: "The four-letter words are intact but just about everything else is amiss in the slack, unsatisfying Broadway revival of David Mamet's American Buffalo."
VARIETY REVIEW: "When American Buffalo is done right, the profane poetry of David Mamet's dialogue can be bracing and the sad desperation of its three minor-league crooks -- playing at being players -- has a poignant sting. But in the three decades since the play was first seen, the influence of its speech patterns has become increasingly pervasive in films, cable TV and imitative theater, while humanized hoodlums have turned up everywhere. Maybe that's why this starry revival sits so flatly on its impressive set. Or maybe it's the lack of a connective thread among its performers. Either way, something isn't working."AMNY REVIEW: "Now comes American Buffalo, Mamet’s first full-length comic drama, which focuses on three petty criminals who plot to steal a rare Buffalo Nickel. Ironically, the characters view themselves as hard-working businessmen instead of hustlers."
Gypsy to Close March 1st, or: "Say goodbye to blueberry pie."
Variety reports that the astonishing revival of Jule Styne's Gypsy, starring the incomparable Patti LuPone and directed by original librettist Arthur Laurents, will take its final curtain call March 1, 2009.This really comes as no surprise as Ms. LuPone's contract ends on the same night. But it is good to see the show will not shutter earlier than expected due to economic hard times. The show so far has grossed $26 million and producers hope that the revival will recoup its investment of $9 million by the end of the nearly year-long run.
In a statement lead producer Roger Berlind said, "I know I speak on behalf of my partners when I say that this production has been one of the most gratifying endeavors of our professional careers. Legendary director Arthur Laurents assembled a superb company lead by the incomparable Patti LuPone. And, while we wish Gypsy could entertain us all much longer, it has become clear to us that there is no way to replace the irreplaceable."
No lie. As you can attest from my 4-star review, Gypsy still remains one of the best productions I have ever seen in my life. The cast was definitive, the staging was brilliant, and the timing (no matter how close it was to that other revival) was perfect.
Gypsy will have played 27 previews and a total of 388 performances since beginning shows March 3, 2008 with an official opening of March 27, 2008.
DidHeLikeIt.com Reviews, or: Electricity seems to hold over from London for BIlly Elliot
Here is a collection of critic capsules from DidHeLikeIt.com for Billy Elliot - The Musical, which opened last night at the Imperial Theatre after starting previews October 1st.
NEW YORK TIMES REVIEW: "Your inner dancer is calling. Its voice, sweet but tough and insistent, pulses in every molecule of the new Broadway musical Billy Elliot, demanding that you wake up sleeping fantasies of slipping on tap or ballet shoes and soaring across a stage. Few people may have the gift of this show’s title character, a coal miner’s son in northern England who discovers he was born to pirouette. But the seductive, smashingly realized premise of Billy Elliot, which opened Thursday night at the Imperial Theater, is that everybody has the urge. And in exploring that urge among the population of a down-at-heels coal town suffering through the British miners’ strike of the mid-1980s, this show both artfully anatomizes and brazenly exploits the most fundamental and enduring appeal of musicals themselves."
USA TODAY REVIEW: "Sure, this adaptation of the 2000 film about a coal miner's son struggling to realize his dreams of ballet glory is already an established hit in London. There, its plot — set in Northern England in the 1980s, when those in Billy's dad's line of work were doing battle with Margaret Thatcher — resonated with audiences accustomed to a more rigid class structure and thus less likely to take social mobility for granted."THE ASSOCIATED PRESS REVIEW: "It's not often that a musical comes along that is as ambitious as it is emotional — and then succeeds on both counts. But Billy Elliot, which opened Thursday at Broadway's Imperial Theatre, is an exceptional work that exemplifies what the best musicals are all about: collaboration. Everything comes together in this impressive, warmhearted adaptation of the 2000 British film about a North Country coal miner's young son who yearns to dance and join the Royal Ballet School in London."AMNY REVIEW: "Billy Elliot: The Musical is the real deal: a truly compelling and absolutely spectacular theatrical experience destined to be a smash hit. Easily the best British musical since Les Miz, it feels appropriate that it is playing at the Imperial Theatre, once home to that long running musical. Simply put, you cannot miss it."VARIETY REVIEW: "Three-and-a-half years may seem a long time for an instantaneous London smash like Billy Elliot: The Musical to cross the Atlantic, but the delay looks to have played serendipitously into the producers' hands. With unemployment figures soaring and the economy in the dumps, the zeitgeist could hardly be more attuned to the stirring story of a Northern England miner's son liberated from bleak reality by his passion for ballet. But even without that happy accident of timing, American audiences would have no trouble connecting with the universal sentiment of this bittersweet dual celebration of community and individuality."
South Park's "Elementary School Musical" Episode, or: why the show is still extremely funny
Sondheim himself said South Park: Bigger, Longer, and Uncut was the best original musical he had seen in years. So if you have yet to give South Park a chance, shame on you.In case you missed last night's episode of South Park (still one of the funniest shows on television), South Park Studios is streaming the full episode for viewing pleasure online here.
And musical theater aficionados will want to take a glance at the new episode entitled "Elementary School Musical." Matt Stone and Trey Parker are still able to milk laughs out of an already tired (and over-parodied) High School Musical satire.
Not funny:
Funny:
And pay close attention to the song and how it actually improves upon the original. And Cartman's closing line is genius: “Well, I’m out guys. If this is what’s cool now I think I’m done. I no longer have any connection to this world. I’m gonna go home and kill myself.”
And what makes it even funnier is the fact that he tried to actually follow through and only failed due to technical problems (Billy Elliot and 9 to 5 take note).
Kyle: What happened? I thought you were gonna kill yourself.
Cartman: I tried. Went to sleep in my mom’s car in the garage with the engine turned on.
Stan: But you didn’t die?
Cartman: Freaking hybrids man. They just don’t do the trick anymore.
For all of its faults (the way I feel about HSM is the same way Sparky from Bring It On feels about cheerleaders: "...dancers who have gone retarded."), High School Musical, as we all know, is entirely commercially successful. And even though it is musical theater gone retarded, at least it exposes something to little kids of the wonderful art of the American musical.
Perfect material for parody. And South Park has hit all the right notes in its most recent episode.
And has also provided my favorite new character in Mr. Queermo, the dad of a young student who longs to be a part of the basketball team and step out of the spotlight of the theater. Despite all the gay stereotypes and cliches with the character, Mr. Queermo and his slap-happy hands had me rolling.
Take note of the Phantom of the Opera poster, the Mamma Mia! poster, and if you watch the clip below, you'll catch the poster to A Chorus Line and the ode to Bye Bye Birdie at right about 39 seconds. The dude is hilarious.
"Go right back to your room and sing a ballad!" I think I just peed a little.
Watch the next 2 clips and enjoy the wonderful comic timing and tight direction of the creators. The editing towards the end of the second clip is spot on.
Remember, South Park is supposed to be offensive - so if you are gonna watch this and then leave negative comments at my admiration for the show and its (non-existant) 'anti-gay' slant, don't say I didn't warn you.
You should just know better. Fight the H8!
Billy Elliot Opening Night, or: two sides of the same blogging coin
Tonight marks the American debut of the London box-office smash Billy Elliot: The Musical. The new musical, about a working-class boy with a talent and drive for dancing while living in the slums of London, opens at the Imperial Theatre after beginning previews October 1st.Elton John provides the score with Lee Hall supplying both lyrics and book. Peter Darling is responsible for the show's plentiful choreography and musical staging.
Stephen Daldry directs a cast lead by David Alvarez, Trent Kowalik and Kiril Kulish rotating in the title role. Also featured in the cast are Haydn Gwynne, Gregory Jbara, Carole Shelley, Santino Fontana, and Leah Hocking.
Adding Machine fans will also be glad to see Mr. Zero himself, Joel Hatch, making his Broadway debut in a supporting role as the boxing coach George.
The production's official website offers this brief synopsis: "Billy Elliot is a funny, heart-warming and feel-good celebration of one young boy's dream in a gripping tale of triumph over adversity. Based on the enormously popular film, this powerful new musical is the story of a boy who discovers he has a special talent for dance, while the boys all around him are more interested in boxing."
Cancellations of some preview performances due to set complications (see also 9 to 5) have plagued the show's word of mouth. However audiences have remained large and the box-office continues to be bring in money ($980,000 during the week of Halloween).
Citing an unremarkable score along with stylistic achievements trumping creative substance, fellow theater blogger Chris was rather ho-hum in his review of the show in previews (albeit considerably more receptive to his initial viewing of the London production). And while Chris rather despised the London incarnation, Steve on Broadway quite enjoyed it when he took in a performance back in 2005; he thinks the score is "exceptional" and describes the feeling audiences receive at the show as "electricity."
Two rather different points of view from two very well regarded bloggers. We'll see what the mainstream critics have to say tomorrow.
August: Osage County Film a Reality, or: The Weinstein Co. is at it again
It's nice to see many theater-related film projects coming through.My previously posted story of In the Heights green-light has had me giddy all weekend long.
Possible prospects of Spring Awakening and Follies are giving me wet dreams.
The recent Nine cast promo pic is intriguing (if only for Fergie's tramp-ish look).
The film adaptation of Doubt is getting great buzz and will debut in limited release here in the US on December 12, 2008. If you haven't already seen it, here's the great looking trailer for the movie. I heart Amy Adams. :-)
And now, it looks like August: Osage County has acquired some big moneys in the form of the Weinstein Co. The film is scheduled for release in 2011 (ugh - so far away) and Tracy Letts himself will be penning the screenplay for his awar-winning opus (the Broadway show is one of the best theatrical productions I have ever seen in my life).
Many have already talked of their dream casting: Meryl Streep, Hellen Mirren, Laura Linney, Kate Winslet, Kirsten Dunst being the ones mentioned mostly. I think the most inspired choice for the role if Ivey so far has been Michelle WIlliams. Just look at her Oscar-nominated performance in Brokeback Mountain if you have any doubt.
But for my money, the ultimate choice for Violet would be the goddess Angela Lansbury. Yes, she is much older than the 65 years that the Weston matriarch is supposed to be, but think of the wonders this glorious actress could do with such a meaty role. Lansbury has laready proven to be a stirring actress in roles that are not quite-so-lovely (Lovetts, Rose, Mrs. Iselin in The Manchurian Candidate - a role that should have won her the Oscar). Plus, Lansbury has never won an Oscar (-twat?!?) and in an interview with Turner Classic Movies, she has mentioned how much it would mean to her to win one.***trying to find the interview. Apparently it's not on YouTube anymore. Grr...***
UPDATE*** Not able to find the Turner Classic Movie interview with Robert Osbourne anymore. But here is part 5 of a 7 part interview where she discusses her return to Broadway in Mame. SarahB take note :-) 10:53 is when she starts talking about it if you want to skip the rest of the interview. I highly suggest you take in all seven parts when you get a chance. Definitely worth it. You can find them here.***And for God's sake, the woman effing deserves it!!
Circle Arts Theatre Founder Elizabeth Elliot's Final Bow, or: the death of the matriarch of local theater
From the Herald-Zeitung of New Braunfels, TX:New Braunfels performing arts community lost the woman perhaps best described as the matriarch of local theater with the passing of Elizabeth Elliott.
The founder and executive director of Circle Arts Theatre, Elliott was 76 when she died Saturday. She recently underwent surgery and had been unwell for some time.
Elliott has influenced thousands of community actors of all ages in New Braunfels since she founded Circle Arts, including her daughter Roberta, the theater’s artistic directory. Just last month, the company drew down the curtain on its 40th season and currently is staging its annual Wurstfest melodrama — this time entitled “Raiders of the Lost Wurst.”
A single mother who raised two daughters with disabilities — and a theatre from scratch — Elizabeth has directed 91 major productions to date, including the award-winning “Seascape.”
Speaking in October, Roberta Elliott said she was a teenager when Elizabeth, became interested in opening a theater.
“Originally, she wanted to renovate and reopen an abandoned theatre called the Peninsula Playhouse, which used to be where the (Landa Park) dance slab is now,” Roberta said.
Taking on the challenge of raising $10,000 to save the building, Elizabeth worked hard on a local petition and various fundraising activities.
When the playhouse fell into disrepair it was torn down in the 1960s. Elliott said she was livid when she learned that repairing the building would have cost the same as demolishing it — about $10,000.
"But anger is not a bad thing," she said. "It's what you do with your anger that makes a difference. I was so angry that I said, 'I'll show them. I'll build my own theater.' Then I got 20 friends together and borrowed $10 from each of them, and got the rights to do Calamity Jane."
Although, she ultimately was not successful, her determination and the fire in her belly eventually gave birth to what originally was the Community Actors Theatre.
“The name was changed because we want to show all different aspects of the arts; the serious side, as well as melodramas and comedies. Even Shakespeare has played here,” Roberta said. “Circle Arts is dedicated to the pursuit of excellence in the performing arts and the affirmation and growth of the human spirit.”
Apart from its annual five-show season, another goal of Circle Arts’ is its “Klasses in Drama” program, which is meant to encourage self-discovery and build self-confidence, while teaching theatre to 2nd through 8th grade students. Another program, the Inner Circle company focuses on bringing live theatre to area elementary and middle schools. To date, the company has performed nearly 600 performances for more than 120,000 students.
Elizabeth was the recipient of the First Lifetime Achievement Award from the Greater New Braunfels Arts Council and, in 1990, was named by the San Antonio Express-News as the “Outstanding Woman of the Year in the Arts.”
In recent years, Elliott’s mobility has been restricted and she got around using a motorized scooter. Up to age 75, Elizabeth Elliott continued to direct one show per year — her final show was “Driving Miss Daisy”
Speaking to the Herald-Zeitung in April, Elizabeth Elliott recalled that when she could still walk, she was often the last person to lock up the building each night.
"I'd close the back doors, and come out and walk on the stage, and look at the seats, and wonder to myself, 'When did we do all this?'
"We were so caught up in the job of building the theater and getting the seats and doing the shows, we were so busy doing the work that I didn't notice it until it got quiet at night. Then the theater's empty and you walk out on-stage and say, 'My God, when did all this wonderful stuff happen?"
Funeral services for Elizabeth Elliott are pending at the Zoeller Funeral Home in New Braunfels.
----------------------------------------------------------
Dazzle the dark, dazzle the dark, dazzle the dark.
I met Elizabeth when I was in second grade. I was a part of the Klasses in Drama program (then known as the Fantasy Factory) where I performed in one of my first shows ever, "Turkey Day," written by Roberta Elliott.
Ms. E (as she's known to most who work with her), was a woman of staunch demeanor. She was very wise and very professional, a trait that some incorrectly confused for strictness and stubbornness. She knew what she liked and let everyone know.
She also knew what she didn't like. To say the least, she was a mighty presence to a second grader doing one of his first productions of a theatrical nature. But she left an indelible impression.
And she has kept that same presence all throughout her long and productive life. No one who met Ms. E ever forgot her. The Herald-Zeitung article doesn't mention that she not only affected thousands of actors in the New Braunfels area, but her impression of thousands of actors in the San Antonio community as well.
My most recent production with Circle Arts Theatre was Honk!. It was a fun show directed by the insanely talented Robin Williams (yes, that is her real name). It was a show that was somewhat out of Ms. E's taste for theater. She preferred classic musicals that appealed to a large demographic or meaty dramas that enriched the culture of theater in New Braunfels. Honk! was a little too cute for Ms. E (a word she despised as a descriptor of any production), but she whole-heartedly championed the strong production and the talent involved. Every night there she was in the front row, offering her wisdom; offering her unwavering support and dedication.
My previous role at Circle Arts was back in January and February as Will Parker in Oklahoma!, a show that was right up Ms. E's alley. A classic musical with strong material and music that made the audience hum along in delight. Oklahoma! for me was a particularly strong production (thanks in part to the steady direction of Roberta Elliott [or Rob as she is referred to as by those closest to her ] and a committed, versatile, talented cast).
During that production Ms. E gave one of the most cherished compliments I have received. She called me a great actor. It was offered in a sort of back-handed compliment way, but it was accurate in its bluntness.
"Joseph has a wonderful voice. He may not be the greatest singer in the world, but it doesn't matter; because when he sings, he acts. And you feel every moment of his performance."
Coming from Ms. E, I took it in stride. That's the kind of woman she was. And to this day, it's one of the most cherished moments of my theatrical career. Everyone wanted her approval. And I knew I had it.
She will be missed. Next time I perform on that intimate stage and I look out to stage left and see her empty chair, where she so dubiously wrote and read detailed notes for actors, I will take a moment to appreciate all she has done for arts in the local area, all she has done for her theater family, and all she has done for me.
Namasté.
Nine Cast Promo, or: Fergie and Hudson are not in the same league
Thanks to Vance over at Tapeworthy for this.Judi Dench, Penélope Cruz, Marion Cotillard, Sophia Loren, Stacy Ferguson, Nicole Kidman, Kate Hudson and Guido himself, Daniel Day-Lewis in a promo shot for the upcoming film apatation of the Tony-winning musical Nine.
I had no idea Kate Hudson was in the cast. And Fergie seems out of place in the pic. But really, what a cast. I love Nicole Kidman and I'm glad to see her in anything really. Cruz looks beautiful and if her singing in Volver (not dubbed!) is any indication of what she is capable of, well then I look forward to seeing what she can do with this material.
I'm a big fan of Day-Lewis also. No telling what his musical talents are, but his workmanship and dedication always serve him well. And I doubt he will disappoint here.
The concept of Nine seems to work well for the film medium. With the announced plans for In the Heights and talks of a Spring Awakening film, I got thinking of other shows that would lend themselves nicely to the film medium.
The one that immediately pops into my head is Stephen Sondheim's and George Furth's Company. The 'concept' musical is already in a format that's just as innovative and compelling today as it was in 1972.
Sondheim's Assassins also would seem to lend itself well to a movie adaptation.
And of course, those talks of Follies had me creaming my pants.
Maybe I'm biased (i.e. I am), but Sondheim just seems to be a genius and ahead of his time. Not only do his shows work extremely well as their intended stage platforms, but because the material is so well crafted, it easily can transfer from one medium to another.
Here's to hoping.
A Tale of Two Cities to Close Even Sooner, or: "One 2 Day(s) More"
Oh how bad I feel for the company members.Playbill.com reports that the producers of A Tale of Two Cities have announced a new closing date for the short-lived Broadway production. Previously reported to shutter on November 16th, the Jill Santoriello musical will now close November 9th, just two days after tonight's performance.
This puts the total Broadway performance count for the Dickens-based historical romance at 60 regular performances and 33 previews.
And to add salt to the wound, the producers felt it necessary to fill the company in through telephone calls just a couple of hours before curtain call for tonight's performance.
Ouch.
Heidi Blickenstaff to Play Ursula, or: some happy news for [tos]sers
[title of show] gave me the opportunity to be able to feel connected to its creators and cast by way of its innovative book, creation process, and truly moving production. As a result, whenever I hear great news for anyone involved with the now-closed tuner, my heart skips a beat and I feel compelled to let more people know.So my congratulations to Heidi Blickenstaff for nabbing the juicy role of Ursula (replacing Sherie Rene Scott) in the Broadway production of The Little Mermaid. As is well known and referenced in [title of show], Blickenstaff was part of the original cast of the Disney musical which lead to some minor complications in the Broadway bow of [tos]. Now with [tos] closed (for now - more on that in a bit!), she is given the opportunity to return as a major principle character in Mermaid. She begins performances January 27, 2009 and is currently scheduled through April 5.
Just goes to show how a little bit of success can alter your future for the better.
And for further [title of show] talk, look over to Chris' latest post and his profile of Hunter Bell and his goals for the Spring of 2009 and a return of [title of show] to the Great White Way.
Today, my heart smiles with joy. I am elated. Tell 9 people!!
Further Plans for In the Heights Movie, or; Hudes' second chance
Some exciting news:As I previously posted, plans for a movie version of the Tony-winning musical In the Heights are in the works. Now with Universal Pictures acquiring the rights to the film adaptation, those plans are now closer to manifesting.
Lin-Manuel Miranda is expected to recreate his Tony-nominated role on screen as well as produce with ex-Miramax/Weinstein Co. production head Meryl Poster. Prolific producer Kevin McCollum, Jeffrey Seller and Jill Furman, who produced the Broadway production, will executive produce the motion picture.
Quiara Alegria Hudes is also expected to adapt her book for the screenplay. And that's where I get concerned. The biggest problem with the Broadway production of In the Heights was its unremarkable and pedestrian book. What was otherwise an electrifying show (score, choreography, set design, performances), the lame-ish words of Hudes seemed to hamper In the Heights from reaching truly amazing heights.
Hopefully Hudes takes this as an opportunity to listen to her critics and to improve upon her work. I know I'm willing to give her a second chance for this wonderful show.
Hair to Play the Al Hirschfeld, or: damn that was fast
And the answer to my question in my previous post: Hair: The American Tribal Love-Rock Musical.In just little over an hour since I asked the question who will take over the Al Hirshfeld Theatre post A Tale of Two Cities, Playbill.com provided the answer.
The acclaimed production, directed by Diane Paulus, will begin previews at the Hirschfeld February 13, 2009. Opening night is scheduled for March 5. No casting has been announced.
Hopefully most of the cast from the Public Theater's revival will still be available for the Broadway run, especially Jonathan Groff and Will Swenson.
The Broadway production will be produced by The Public Theater and Elizabeth Ireland McCann.
From Playbill.com:
In a statement McCann said, "I had been asking myself, 'Why Hair? Why now?' And when you look at how audiences at the Delacorte jumped from their seats to sing and dance with the cast at the end of the show, you realize that Hair's joy and unbridled hope for a better world is in step with where we are today. Those sentiments certainly echoed like a sonic boom when America went to the polls yesterday and elected Barack Obama."
A Tale of Two Cities to Close on Broadway, or: the worst of times... I'm just gonna let you fill in the lame header.
The producers of the new (apparently sucky) musical A Tale of Two Cities announced late November 4th that the tuner/make-shi(f)t Les Mis imitation will play its final performance November 16th.The show began previews August 19th and officially opened September 18th. After only 33 previews and what will be 68 regular performances, the show's producers cite the current economic crisis as a factor in the decision to shutter.
Uh huh.
The show cost $16 million. It has not been selling extremely well. And it received scathing reviews from pretty much everyone (including fellow blogger Chris [and what the hell BroadwaySpace.com? Ugh, that site is getting crappier by the minute]).
Can the producers not admit that the show just blew ass?
The week of October 27 through November 2, the Hirschfeld was only filled to 44.5% of its potential capacity, earning $303,755 for the week.
Now the coveted Al Hirschfeld is available. Anyone have guesses on who will be the first to snag it?
Roger Ebert's Thoughts On the Election, or: and yet another reason to love the movie answer man (and America)
If ever there is a great modern media writer, that man is Roger Ebert. He understands technology and knows how to use it to for purposeful enlightenment. He is perhaps the greatest blog writer today. He knows his audience. He knows his nation. He knows himself.Last night was historical. And Roger Ebert once again is able to so eloquently put in words what so many of us feel.
Read his latest blog post.
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