Showing posts with label Broadway History. Show all posts
Showing posts with label Broadway History. Show all posts

Wednesday, September 21, 2011

Survivor: Broadway

There was a time when the reality show Survivor was new and actually interesting.  I don't watch it anymore, but this season's version caught my eye, and I'll bet you'll know why immediately.

 
This season it is called... Survivor: South Pacific.

 

 
So, immediately my mind went to that weird fantasy place it goes to when I'm bored at work and I daydream of Broadway.  Imagine, if you will, the characters in Rodgers and Hammerstein's South Pacific.  They are the first cast of Survivor: Broadway.

 
  • The motto: "Out Sing.  Out Dance.  Out Act."  The location: Bali Hai (really, what else could it be?). 
  • The two tribes: Team Forbush vs Team de Becque.

 
The Tribe Leaders share a moment
The "Pretty Girls," the "Eye Candy," the "Smart Guy"

 
  • 9 team members per tribe: 1 natural leader (always cut when the team needs him/her the most), 1 villain (so close to winning, but found out just in time). 1 elder (offers great advice, everyone loves him/her, but he/she can't keep up in the challenges), 1 funny guy or bookish, quiet guy (if he/she can get a decent alliance, he/she could win), 2 male eye candy/musclemen (to be shirtless, look good sweaty and to justify the physical challenges), 2 female "babes"/pretty girls (to be catty in those solo confessional segments, to look good in a bikini top and panties, and to squirm in the inevitable mud pit or to be squeamish during a bug eating contest).

 
A tropical setting...

 
...a pretty, exotic young woman...

 
...and a shirtless guy.
Just another episode of Survivor: Broadway!

 
TEAM FORBUSH:
  • Leader: Ensign Nellie Forbush
  • Villain: Captain George Brackett
  • Elder: Commander William Harbison
  • Funny Guy: Luther Billis
  • 2 Male Eye Candy: Radio Operator Robert McCaffery, Lt. Buzz Adams
  • 2 Female Eye Candy: Ensign Dinah Murphy, Ensign Janet MacGregor

 

 
These things happen when the tribes merge!

 
TEAM de BECQUE:
  • Leader: Lt. Joseph Cable  
  • Villain: Bloody Mary
  • Elder: Emile de Becque
  • Bookish Guy: The Professor
  • 2 Male Eye Candy: Seabee Billy Whitmore, Lt. Eustis Carmichael
  • 2 Female Eye Candy: Liat, Ensign Cora MacRae

 
The Physical Challenge: "Long Distance Beach Run...

 
... and Military Formation"

 
THE CHALLENGES:
  • Long Distance Beach Running and Military Formation: a test of endurance and mental strength

 

 
"Build a Working Laundry"
  • Build a Working Laundry:  a test of teamwork, logic and problem-solving, with just enough brains needed to make it work
Keep your friends close and your enemies closer.

 
"The Towel Snap and Hair Dry Relay"

 
Looks like Team Forbush won this challenge!
  • Towel Snapping and Hair Drying: a relay race under odd conditions

 
Team Forbush wins again
  • The Let's Put On A Show Challenge: of course!

 

 
Next Season: Survivor: Broadway All Stars Team Tevye vs Team Mama Rose!  The greatest characters in musical theatre history go head to head in the remote junkyard of Cats!

 
Photos from the Lincoln Center Theatre production of South Pacific; the Original Broadway Cast, the final Broadway Company, and the First National Tour.

 

 
Rate this silliness below, leave your comments here, by email at jkstheatrescene@yahoo.com, or Tweet me!
Jeff
3.023

Friday, September 16, 2011

More Broadway Milestones

It has been quite a week for Broadway shows, with several shows marking milestones.  Here's a quick look at the ones that happened this week (September 12 - 16, 2011)!

OPENING:

September 12: The starry revival of Follies opened to mostly enthusiastic reviews at the Marquis Theatre.  StageGrade.com took all of the major reviews into consideration and gave it an average score of A-.  (Talkin' Broadway was the major nay-sayer giving it an "F".)


Ron Raines, Bernadette Peters, Lora Lee Gayer, Nick Verina
Photo by Joan Marcus

The Follies Ensemble
Photo by Joan Marcus

PERFORMANCE MILESTONE:

September 14:  Mamma Mia! became the 10th longest-running Broadway show in history with its 4,098th performance at the Winter Garden Theatre, surpassing the run of Miss Saigon.  The show will celebrate its 10th year on Broadway on October 18th.

The Dancing Queens: Donna and the Dynamos on September 14.
Photo by Joseph Marzullo

Nothing says long-run record like cupcakes!
Stacia Hernandez, Lisa Brescia and Jennifer Perry
Photo by Joseph Marzullo


ATTENDANCE MILESTONE:

September 14: Spider-Man:Turn Off the Dark welcomed its 500,00th audience member, Jordan Muir an 11 year old from Australia.

Patrick Page addresses the audience as the cast looks on.
Photo by Krissie Fullerton

The Green Goblin introduces Spider-Man's
500,00th audience member Justin Muir (and family).
Photo by Krissie Fullerton

The Muir Family at the Foxwoods Theatre, with a special edition
of The Daily Bugle, one of Justin's special commemorative gifts.
Photo by Krissie Fullerton

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Jeff
3.018

Wednesday, September 14, 2011

Favorite Flops: GRIND (1985), Part II (The Design)

The blog is the second of four about this notorious flop musical from 1985.  To see part one, click HERE.

Director Harold Prince and the producers of Grind were able to get some of the best artists on Broadway to design this new show.  Set in depression-era Chicago, the sets, costumes and lighting needed to evoke the world of burlesque as well as the backstage life of the by-law segregated house, often simultaneously.  Budgeted at $4.75 million dollars, it was to be an extravaganza by every measure.

The facade of the burlesque house in Grind
The large cast was costumed by Florence Klotz.

Costumes: Florence Klotz

Ms. Klotz had a long, distinguished career in film and theatre, including a long association with Mr. Prince.  In fact, all six of the Tony Awards she won were for shows directed and/or produced by him, including Grind:

  • 1995: Show Boat
  • 1993: Kiss of the Spider Woman: The Musical
  • 1985: Grind
  • 1976: Pacific Overtures
  • 1973: A Little Night Music
  • 1972: Follies


  • Other shows she designed include City of Angels, On the Twentieth Century, Carousel and Side By Side By Sondheim.  She also designed the costumes for the film version of A Little Night Music.

    In addition to her six Tony Awards, she was honored with an Oscar nomination for A Little Night Music, five Drama Desk Awards, and three Outer Critics Circle Awards.  In 2002, she was awarded the Patricia Zipprodt Award from the Fashion Institute of Technology, and in 2005, the Irene Sharaff Lifetime Achievement Award.  In 1951, Ms. Klotz began her career as Ms. Sharaff's assistant on the original production of The King and I.

    Florence Klotz passed away in 2006 at the age of 86.

    The show curtain and proscenium,
    as well as the runway were lit by Ken Billington.

    Lighting: Ken Billington

    Like Ms. Klotz, Ken Billington has had a long career in theatre, with over 70 productions to his credit.  Among the shows he designed are: Sweeney Todd, Side By Side By Sondheim, On the Twentieth Century, and recently, The Drowsy Chaperone, and The Scottsboro Boys.  Over his 40+ year career, he has been nominated for 9 Tony Awards, winning one for his design of the revival of Chicago.






    As much as this photo shows all the levels of the set,
    it doesn't really do justice to the enormity
    of the set designed by Clarke Dunham.


    Scenic Design: Clarke Dunham

    Mr. Dunham's design for Grind was history in the making.  With three independent turntables able to work alone or together, the set for the show was actually a theatre unto itself, with its own lighting, drop and scenery rigs, so that as the audience watched "the show," they could see Harry Earle's Burleske House working as it would.  And depending upon the scene, the whole set could be turned so the audience could see all three floors of the "backstage" as well.  This was crucial to this story which pitted blacks against whites on and off stage and performers against city dwellers outside of the theatre.

    What made this so important in the history of scenic design was that this was the very first Broadway musical to be run ENTIRELY by computer, and at this scale it was an enormous and dangerous undertaking.  (Later, such shows as Cats and La Cage aux Folles were retrofitted to become more dependent upon computerized stage design.)  Before the show even previewed out of town in Baltimore, all eyes were on this show.  A producer's worst nightmare happened at the very first preview at Baltimore's Lyric Opera House when the set stopped working mid-performance, as the computers sensed a problem and locked it down tight.  The SRO crowd was treated to a lengthy curtain speech by Prince and some entertainment by star Ben Vereen.  Unfortunately, the show could not go on without more risk to the set, computers and, of course, the company.  As fate would have it, local news stations were there to cover the star-studded try out, and sent to story out nation-wide (Call this Spider-Man lite!)  The next morning, the papers carried stories with headlines like "New Broadway Show 'Grind's to a Halt" and the like.  Eventually, everything was corrected and the set elicited gasps at the preview I attended.  It really was something.

    Mr. Dunham's career, like his fellow designers, had much to do with Harold Prince.  His design career on Broadway spanned 30 years.  He last designed the 1997 revival of Candide.  He has been nominated for two Tonys (including for Grind) and three Drama Desk Awards.  According to his website, he still continues to do stage design.

    As it turns out, the problems with the set out of town were insignificant compared to the troubles that lay ahead for Grind. 


    Rate this blog below, and leave your comments here, by email at jkstheatrescene@yahoo.com or Tweet me!
    Jeff
    3.016

    Sunday, September 11, 2011

    Remembering 9.11.01

    My mother can remember exactly where she was when President Kennedy was assassinated.  I can remember exactly where I was on September 11, 2001 when news came that the first tower of the World Trade Center had been hit by American Airlines flight 11.  We both can.  Having that kind of knowledge is something my mother is something she had always hoped her own children would not have to bear.  It is one thing in common that we both are not happy about.

    But, as she always says, something good always comes out of the worst situations.  And it was just over a month later, in late October 2001, that my mother and I found our "good."

    That I have a passion for Broadway and New York City is something everyone I know finds out, usually within minutes.  So when this tragedy happened, people I know immediately thought of me.  And every day for weeks, I am questioned:  "Are you ever going back to New York?"  "Aren't you afraid to go to Broadway again?"  "I bet you'll never go there again."  Remember that those days were filled with grief and sorrow, and also a lot of rumor, innuendo and fear mongering by the media; people asking me that was a natural thing.

    But soon my fear - I'll admit I was scared like just about everyone else - was replaced by anger.  How dare my life, my freedom, my passion be ruined by terrorists?  And how could I let them win?  So many people died that day, and didn't we all owe it to their memory, to their sacrifice, to go on even better than before?

    And so, plans were made to go to New York City.  I was determined to support the city and the Broadway community which were struggling now, just as they had supported me every time I went there.  My mother refused to let me go alone.  Off we went. 

    Anne Frank famously said, ""In spite of everything, I still believe that people are really good at heart."    She was right.  And nowhere on Earth was it more evident than that October weekend in New York City.  Good was definitely coming from bad, as New Yorkers struggled to regain normalcy.  The looks of gratitude that greeted us - returning tourists - everywhere we went was heart-warming and unifying. 

    We saw that look on the face of the man who held the door open for us at Penn Station, who said to my mother, "Good morning, ma'am.  Welcome to New York!"  We saw it on the faces of the desk clerks - all three of them - who gathered at the desk of the Milford Plaza to greet us.  It was Saturday morning and the lobby was completely empty.  It was very eerie, but the staff surrounded us with appreciation and gratitude and mom turned to me and said, "I am so glad we are doing this."  "So are we, miss," said the desk clerk.  We were upgraded to a suite and given vouchers for meals.  We tried to say it wasn't necessary, but it was so clear by the looks on their faces that this was more than a gesture mandated by management, and we quietly accepted.

    What were we going to see was my mom's first question.  "What do you want to see? "  " I really want to see The Lion King." "I am sure it is sold out, but let's go see about when tickets are available and we'll get them for as soon as we can."  Off we went to 42nd Street and the New Amsterdam Theatre.  "When do you have orchestra seats for a Saturday matinee?"  "Well, we have Center Row G this afternoon."  I was sure we heard wrong.  "What date was that?"  "Today, sir.  2PM."  My mother, always quick to recover says, "Aren't those the expensive seats?"  "Normally, ma'am.  But these are available at the regular price."  We looked at each other, all three of us.  The lobby was empty.  The man's face said it all.  "I don't care how much they are.  We will take them!" my mother announced.  The box office guy looked strange - part disbelief, part relief. 

    We literally skipped out of the theatre and walked up a practically empty Broadway toward our favorite breakfast/lunch cheap eatery, the Edison Cafe.  Like everywhere else, this place, usually crowded and bustling, was empty.  The service was terrific, the portions enormous.  We returned to our room to freshen up, and I flipped on the news.  A few minutes in came the news that surprised and scared me - Disney was the latest target rumored to be in the sights of the terrorists.  Disneyland, Disney World, and yes, Disney on Broadway were primary targets in the latest threats.  The picture was very clear.  "We are going anyway, Jeffrey," my mother announced firmly.  And we did.

    Now the scene outside the theatre wasn't like it is today.  No huge crowds, no construction.  But there was a small line of people, who just like us, were defying the threats and going to see a Disney show no matter what.  It wasn't sold out, and the line to be thoroughly checked - wanded and complete-take-everything-out-of-your-bags bag checks was long.  Instead of complaining and being rude to one another, we were all resigned to this intrusion and kind of grateful that so much was being done to keep us safe.  The show was great.

    With that high as a kite feeling you get after seeing a great show, we left the theatre and went up 8th Avenue to find a place to eat before returning to our suite.  A few blocks past the Milford Plaza, we walked past the fire station, doors up, firemen sitting on alert waiting for the next call.  One of the stalls was empty of any sort of truck.  Just before the corner was a make shift memorial of pictures of the men from that station who didn't make it back from the World Trade Center.  There were some drying flowers on the sidewalk.  It looked as sad and beaten down as the men still manning the station.  Mom abruptly stopped.  Then she turned around, a look of resolve set on her face.  I knew not to say a word and to follow quietly.  I stayed behind just a bit, unsure of what was happening.  She spoke to one of the men, who called for another guy who came out of the office.  They chatted briefly, and my mother reached into her purse, took out her check book and wrote out a check, handing it to the fireman from the office.  He looked down.  Looked up.  Pinched his nose and started to cry.  I don't really know what happened, but the next thing I know, my mother and I are in the middle of a crushing group hug given by weeping men much bigger and stronger than either of us.  You couldn't help but be swept up by the emotion, as if that burst of tears was a relief of pent up feeling now some 6 weeks old.

    Mom never told me how much the check was for, but I know it was substantial.  The fireman from the office said, "Are you sure about this donation?  I mean, you don't even live here."  And she looked him in the eye and said, "This is my son.  He comes here a lot.  And knowing that you are here in case he needs you is all the reason I need to give you that.  I wish I had more.  You've protected me and my whole family for years and I'll never be able to thank you enough for that.  Let's go, Jeffrey." 

    As we left, I looked back at their faces, full of gratitude.  Just like the guy at Penn Station, the clerks at the Milford Plaza, and the Box Office guy at the New Amsterdam Theatre.  Then, I looked down at the makeshift memorial at the smiling faces of those who would never return to their station or their families.  And I hugged my mom the whole way to dinner.



    Jeff
    3.013

    Monday, August 29, 2011

    The Longest Running American Musical on Broadway



    The very beginning of May 1996 was the time Broadway history began to be made.  Of course, back then, no one knew what a true phenonemon Chicago: The Musical would become.  At the time, fans of the show were just thrilled at the chance to finally see a professional production of a show many only knew from its original cast recording.  A critical success, the Encores! production was immediately rumored for a transfer to Broadway.

    Before that May was over, Barry and Fran Weissler had secured the rights to bring the concert version to the big time in a more finished version - that is, without scripts as in Encores!, and full staging.  Finished, finessed, but not substantially different.  The bare bones staging by Walter Bobby, sexy costumes by William Ivey Long, fresh revamped book by David Thompson, and choreography "in the style of Bob Fosse" by Fosse protege Ann Reinking woule remain essentially intact.

    Fast forward to tonight, August 29, 2011.  Tonight, Chicago: The Musical will play its 6,138th performance, and that will make it the 4th longest-running show in Broadway history, behind Les Miserables, Cats and The Phantom of the Opera.  It is now the longest-running American musical in Broadway history.  (For some time, it has been Broadway's longest-running revival in history.)  With no signs of stopping, Chicago: The Musical will surpass Les Miserables to become the third longest-running show in just over a year.



    3 Theatres, 1 Legendary Show

    Chicago: The Musical Statistics:
    • Theatre: Richard Rodgers Theatre (November 14, 1996 - February 9, 1997)

    • Previews: October 23, 1996 (25 previews)

    • Opening: November 14, 1996

    • Theatre: Shubert Theatre (February 11, 1997 - January 26, 2003)

    • Theatre: Ambassador Theatre (January 29, 2003 - present)


    1997 Tony Awards
    • Best Revival of a Musical (Won)

    • Best Leading Actor in a Musical - James Naughton (Won)

    • Best Leading Actress in a Musical - Bebe Neuwirth (Won)

    • Best Featured Actress in a Musical - Marcia Lewis (Nominee)

    • Best Direction of a Musical - Walter Bobbie (Won)

    • Best Choreography - Ann Reinking (Won)

    • Best Lighting Design - Ken Billington (Won)

    • Best Costume Design - William Ivey Long (Nominee)


    Opening Night Cast:
    • Roxie Hart: Ann Reinking

    • Velma Kelly: Bebe Neuwirth

    • Billy Flynn: James Naughton

    • Amos Hart: Joel Grey

    • Matron "Mama" Morton: Marcia Lewis

    • Mary Sunshine: D. Sabella

    • Fred Casely: Michael Berresse

    • Go-to-Hell Kitty: Leigh Zimmerman

    • The Merry Mureresses: Caitlin Carter, Mamie Duncan-Gibbs, Denise Faye, Mary An Lamb, Tina Paul

    • Ensemble: Jim Borstelman, Bruce Anthony Davis, Micahel Kubala, John Mineo, Rocker Verastique, Davis Warren-Gibson

    • Stand-by for Roxie and Velma: Nancy Hess

    • Swings: Mindy Cooper, Luis Perez

    Roxie Hart over the years...
    The Originals: Bebe as Velma and Ann as Roxie

    Bebe played Roxie, too...

    Charlotte d'Amboise has plyed the role A LOT

    Melanie Griffith and Bianca Maroquin both rocked Chicago

    Melanie Griffith and Robin Givens

    Bonnie Langford and Paige Davis

    Brooke Shields and Michelle Williams


    Micelle Williams, Lisa Rinna
    Ashlee Simpson, Christie Brinkley

    Michelle Dejean

    Ruthie Henshall

     
    Christie Brinkley

    Rita Wilson (with Brenda Braxton)

    Bianca Maroquin

    Karen Ziemba

    Sandy Duncan

    Brooke Shields

    Marilu Henner, Rita Wilson, Michelle Dejean

    Amy Spanger
    (with Michael C. Hall as Billy Flynn)

    Velma Kelly over the years...

    Bebe Neuwirth


    Frequent Velma Terra C. McLeod

    Vicki Lewis

    Ute Lemper
    Broadway and London Velma


    Ruthie Henshall played both
    Roxie and Velma on both
    Broadway and the West End

    Caroline O'Connor

     Terra C. McLeod on tour

    Brenda Braxton

    Leigh Zimmerman

    Amyra Faye-Wright


    Charloltte d'Amboise as Roxie with 2 Velmas:
    (TOP) Leigh Zimmerman
    (BOTTOM) Nikka Graff Lanzarone


    Current Velma Nikka Graff Lanzarone


    Mya and the Boys


    Billy Flynn over the years...
    Joey Lawrence, Usher, Huey Lewis


    Jerry Springer played both New York and the West End


    John O'Hurley is a frequent and loved Billy Flynn


    Matthew Settle

    Brent Barrett


    The Backstreet Boys' Kevin Richardson




    The late Patrick Swayze


    And BOTH of the Dukes of Hazzard have taken their turn
    as Billy Flynn: John Schneider and Tom Wopat


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    Jeff
    2.366