LOGOS: Man and Boy

A word of caution if you Google "man and boy": be sure to add either "Broadway" or "Roundabout" after it BEFORE you hit enter.  Otherwise you might find yourself in the midst of some rather, um, unsavory websites.

But looking at the logo for Terrance Rattigan's play, Man and Boy, which opens tomorrow at the American Airlines Theatre, there is no such confusion.  And even a cursory glance at the image tells you a lot about the play, even if you know nothing about it, like I didn't.

First, the grey sepia tone of the photo suggests a time past, and the smoking (on a public park bench, no less), the fedora and suit on the central figure suggests a specific time - the late 20's/early 30's, like The Untouchables or something.  Then there is the newspaper, being handed - or maybe an accusatory shove - to the figure.  If it were a modern play, The Wall Street Journal, might be seen on an iPad!

Of course, the details of the photo tell us specifics of the plot.  The figure is either the person involved in the news article, or is connected somehow to that person - his boss?  an investigator?  Hmm, the bit of news photo that you can see confirms that the man in the fedora is the man that made headlines. And the headline really tells the rest: "Financier Sought in Scandal."

Finally, that figure is easily recognizable.  He is, after all, a multi-Tony winner and an award winning film actor.  But just in case, you can't put a name to the face, some of the ads tell you that he is none other than Frank Langella.  With the title in a font that fairly reeks "film noir" you know that there is something serious, mysterious and dangerous, going on here.  But I have to admit, the meaning of the title itself remains an enigma to me.

But given the amount of information the excellent photo gives, as well as its style, maybe keeping the title a mystery is actually a selling point.  One thing is for sure, though.  The image and Frank Langella's presence in it pretty much rules out that Man and Boy has anything to do with those nasty sites you can find by Googling!


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Jeff
3.040

LOGOS: Follies (2011 Revival)

The Follies logo in practice

Perhaps the wisest thing the producers/company of this 2011 revival of Follies did was NOT repeat - or even really attempt - any more than a suggestion of the iconic logo from the original 1972 production.  That version, cracked statue and dynamic lettering in primarily bright orange is widely regarded as one of the greatest Broadway art logos ever created.  The current revival resembles it only in composition: the largest single figure is the face of a woman, crowned bu the word "Follies" in dynamic lettering.

The Title Lettering

And what about that lettering?  It speaks volumes about the show's story, themes and setting.  First, each letter is rimmed in gold, certainly a not to the rich, sumptuousness of follies shows in general, and the elegance of a by gone era in this history of theatre.  Notice, too that each letter is filled with an almost sparkly blend of a soft blue, rising to an elegant pink.  The combination itself is both strong and softly feminine, like a showgirl, and colored in that fabulous blend of two colors and sparkling like so many follies-styled gowns might have been at the hey-day of that style of theatre.  Yes, the logo's lettering does suggest a bygone elegance that is certainly featured in its still talented, but fading fast company of players who have returned to celebrate their past only to find the decay of the present taking over the theater they are in and the lives they are leading.

The collage of images below the title, as well as the way in which the credits are arranged on the larger poster version definitely suggest a passage of time, as one might have seen on the paper posters that used to adorn Shubert Alley.  Today, large plastic and vinyl painted posters hawk the latest Broadway hits.  Back in the day, those same images were conveyed on glued sheets of colorful paper, that were literally torn down (and apart) in order for a new poster to take its place.  The glue was such that it was nearly impossible to cleanly remove one poster before gluing up another.  Over the years, layers of these things would build up, and eventually, bits and pieces of logos and photos from shows past would peek out from under the more modern posters glued over top.  And sometimes, a lighter image, once glued, would become almost translucent such that that image would be superimposed over hints of what came before.

The Artwork for Follies by FRAVER

All of this happens in the colorful, thought-provoking imagery of the Follies logo presented here.

Notice that each "layer" is "torn" to expose parts of what came before it:  smiles on youthful faces, both male and female, headless chorines in colorful costumes.  There is one eye, staring out at us in the upper right corner.  Are these tears, stains or phantoms of dancers in the bottom corners?  And surrounding the face of the said, plaintive main image are young, supple lips and wisps of feathers.  She is not smiling, her heavily made up eyes looking up and off in the distance as the memories of what was swirl around her.  Snatches of memories, torn from a full life, some focused on some youthful details, others colorful, if incomplete memories.

The Complete Logo and Credits
on the Follies Windowcard

And the poster's most vibrant, present colors, are reserved for the most current "tears" of a poster, the cast members, authorship credits and critical quote.  Their presentation is both very now and very then.

Eye-catching, hinting at past beauty, and haunting.  That is the world of Follies in a feathered, bugle-beaded nutshell. 

Grade: A



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Jeff
3.014

CHICAGO: A POSTER GALLERY

With Hurricane Irene causing the postponement of the historic 6,137th performance of Chicago until at least Monday, I am putting off my retrospective of the revivals stars, past and present, until the day it actually happens.
Instead, here is a look at some of the logo and poster art done over the years for the revival. I have included a couple of items from the touring companies and the London production.  Speaking of the West End production, today is kind of bittersweet.  With the Broadway production on the verge of becoming the longest-running American musical on Broadway, the London version will close this evening after 14 years on the West End.

The Original Campaign

Celebrating every cast member

International: Ute Lemper lounging on

the logo.  This appeared in New York and London.

Variations on a theme...

Theatre package art work

A couple from London

The "Glitter" Campaign

The "At Large" Campaign

The latest "star" ad for Super Model

Christie Brinkley

Some simple "Razzle Dazzle"!

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Jeff

2.364

LOGOS: Death Takes a Holiday

An all-star cast and legendary creative team have joined forces with Roundabout Theatre Company to create a new off-Broadway musical, Death Takes a Holiday, based on the original play by Alberto Casella.  The folks over at Roundabout may have a somewhat uneven track record of hits and misses as far as their shows go, but their show logos and advertising are always first rate; Holiday is no exception. 

Let's first take a look at the title and "catchphrase."  First, the color, a muted yellow is the perfect choice pratically and artistically.  Practically speaking, the yellow catches the eye and works wonderfully with the grey-blue background of the rest of the image.  Artistically, the yellow, being muted instead of bright and vivid, has a calming effect, yet still speaks to a certain vitality, meaningful in conjunction with the title and central character, "Death."  Then there is the lettering itself, slightly arched, instead of boldly straight as an arrow, which again speaks to a vitality tempered with a calm relaxation.  Notice, too, that the word that probably carries the most weight, "death," is actually secondary in size and letter style to "holiday."  Clearly, the authors and the show itself hope to draw us in with the "holiday" (vacation) aspect of the piece rather than the potentially frightening aspect of "death."  All three typefaces used here have a definite "long ago" feel to them, and in conjunction with the central image of the logo, tells us that we are going to be transported to another time.  The color and typefaces also have a regal, upper-class connotation, thus letting us know that we will be on holiday, during a time ago, with the upper echelon of society.

The catchphrase, a play on the typical "a new musical" or "a musical," speaks volumes about the play both literally and figuratively.  But calling the show "a breathtaking new musical," two thoughts come to mind: literally, the show, like the romance depicted in the image below, will take your breath away.  True love that sweeps you off your feet does just that.  What else leaves you breathless?  Why, death, of course!  The double-meaning here speaks to the wit and sophistication of the material at hand.  It tells us at once that we are in for a love story of epic proportions and a sense of humor that requires you bring your heart and mind with you.  It, like the word "death" in the titling, are subtle reminders that while the fun of romance and holidays are at the forefront of the show, death also lurks and importantly so in this piece.  What a brilliant use of four words!

Just as the title and catchphrase reveal the content and tone of this new musical, so, too, does the imagery used in the logo.  Against a dark grey-blue sky, with a cloud covered and/or unseen moon, and over a calm body of water (not quite a "dead calm"), a faceless couple dances.  They are so into each other, so enraptured by the partnership, that they are facing each other and see only each other.  Both figures hold tightly to each other as they are perhaps doing a tango or other dance of passion.  With hairstyles that reflect the late 19-teens/early 20's, with dapper, elegant clothing to match, we know the time of the show.  The clothing, also period, yet somehow classic and never out of style reflects a certain timelessness.  And nothing is more timeless than either love or death.  His black tuxedo and her floor length, satin finished gown match each other perfectly, with her gown floating around her ankles.  The duo, floating above the water, is hovering above the ground, just as the feeling of intense love makes us feel.  Or are they dancing off to another plane of existence?  Is this a dance of love?  Or is it the dance of death?  The two are inextricably intertwined.  And so are the two in the play, and now in the musical version.

Is the musical going to live up to its beautiful, thought-provoking logo?  We'll find out tomorrow.

Grade: A+

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Jeff

2.327

LOGOS: RENT

If it ain't broke, don't fix it.  That little axiom is true in most aspects of life, I've come to find out.  People, in general, are resistant to change, especially when it comes to things they have a personal/emotional connection to.  So it is probably a good thing that - for the most part - the powers that be at RENT have chosen to stay with the tried and true for the show logo.  It is, arguably, as iconic as the logos for Cats, Phantom and Les Miserables.  In fact, if you look at all of the 10 longest-running shows in Broadway history, all 10 have logos that are easily recognizable beyond the theatre community.

I have to admit, that for all of the press and posturing that has gone on with respect to this off-Broadway return and its "re-envisioned" direction and presentation, I am a bit surprised that virtually nothing has been done to separate this version from the original in terms of advertising.  It might be a wise choice given the intensely loyal RENT-heads and the relatively short time since the original production closed.  The clean original logo, as well as ads with "No Day But Today" playing in the background, might draw them in, and it will likely draw in those folks who missed it the first time around.  It is hard to imagine, isn't it, that anyone has missed this classic.  But consider that anyone born in 1996, when the show premiered, would now be only 14 or 15 years old... just old enough to be a part of the show's target audience (at least the youngest end of that scale).  This way, a new generation can feel like it is experiencing what their older brothers and sisters, and even parents did, "way back in the '90's."

As a logo, it works on many levels.  The simple stencil letters hastily taped up with shards of uneven tape tell us a lot (as does the "spray painted" negative version).  First, it tells us we aren't dealing with "rent" as it applies to swanky apartments in the upper East Side.  No, that lettering would be ornate and metallic looking.  The haste of the tape job and uneven spacing of the letters also implies that perhaps this is going to be graffiti sprayed onto a wall or other structure in the low-rent district.  The addition of a poorly inked old typewriter style of lettering for the rest of the show information also calls to mind the handbills put together on the cheap to advertise cheap places to live, local concerts and events, and definitely protest events.  All of those, of course, figure prominently in the story of RENT.

Then, too, as my buddy Mike pointed out, the word "rent" doesn't just mean "money paid to a landlord," but it also means "torn to pieces."  The logo certainly gives off that vibe, and the show supports that, too.  Let's face it.  In many ways, these characters are torn apart, ripped into pieces, fixed up and torn again.

Keeping it familiar and simple also keeps down costs while still looking subversively stylish to RENT-heads old and new, who will soon be restocking their show memorabilia collections with all that this new version has to offer.  And I have to admit that I really like the new spin on the old logo.  Notice that you get the negative version of the main logo against a background of that cool typewriter type style that lists all of the songs in the show, right down to the phone messages.  This is an instant memory-maker, with everyone's favorite songs listed - perfect for fans of "Light My Candle" who are maybe not wanting to buy one more thing that says, "No Day But Today" or "La Vie Boheme."  But if you love those songs or the whole score, everyone is invited to enjoy the t-shirt it is printed on.  It is also a plain reminder that all of the show songs are here and this is not a stage version of the film.  Most fans of the show will find that important, though this admitted RENT-head is in the minority.  I loved the film version, too.

How all of this will impact the enjoyment of this new version remains to be seen.  (If it impacts anything at all.)  But it certainly leads you to believe you are seeing the "authentic RENT."  What happens when you get into New World Stages, and the new RENT is not as much like the old as you'd expect?  (I'll tell you in my review next month...)

Grade: A

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Jeff

2.325

LOGOS: Hair

Here we are in the midst of the "Summer of Love," with the return of the 60's to Broadway.  Heck, except for The Phantom of the Opera, 44th Street is pretty much one big infomercial's worth of American rock n' roll.  We've got the 50's and early 60's covered with original tunes from Memphis, and classic hits in Baby, It's You!  Across the street has 80's rock screaming from its outdoor speakers at the Helen Hayes Theatre, home of  Rock of Ages (it is an odd sensation to cross the street mid-block when your ears pick up Journey AND the Shirelles).

When American Idiot closed, the new century went unrepresented, but Broadway rock fans, don't despair!  Late 60's psychedelic tunes are back!  Let the sunshine in!  Hair is back!  Last time around, I wasn't blogging, so I thought I'd take this second chance to talk about its colorful logo.

Like most of the best Broadway logos, this show's is a hit in four ways: its title is easy to discern, it is noticeably colorful, it easily changes into "variations on a theme," and its largest logo tells the story of the show without giving too much away.

The vibrant blue color and the radiating sunburst of lines, to me, at least, suggest both the natural "sun" element, astrologically and naturally associated with the hippies, who make up the "American tribe," named in the show's subtitle.  While the combination of the lines and the blended colors in the title resemble tie-dyed clothing, another iconic element of the free love movement.  And you can see that it works just as well in reverse.

In fact, the reverse version, even more resembling the sunburst, really fits with the addition of the song title/rallying cry, "Let the Sunshine In."  Add to it the multi-hued blue hands, free and reaching for the sun as one - as a tribe, as well as the quintessential hippie girl, smiling and carefree reaching the highest.  Love beads, peace necklace and fringe leather vest, her arms are lifted in joy.  Freedom and rebellion were never so close, and the movement portrayed in the show is brought vividly to life in this logo.

The simplicity of the lettering reminds me of both the lettering on so many protest placards, and, somehow, computerized lettering, which ultimately brings the show from the sixties fully into the 21st century.  How fitting, given this particular production's relationship to the times in which we live,

Grade: A

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Jeff
2.318

The Art of James McMullan and the Logos of FRAVER

If you are reading this blog, I am going to assume that you have more than a passing interest in theatre and aren’t just looking for a photo of Jersey Boys or Times Square for some sort of report. I’ll also assume, then, that the two men I’ll be talking about today are both people with whom you are familiar. You may not know them by name, and even I, a huge fan of both, didn’t know what they looked like until I did a little research. But you definitely know their work. They are theatre poster designers Frank Verlizzo  (left) or FRAVER as he is known in design circles, and James McMullan (right), the man largely responsible for the art work used by Lincoln Center Theatre.

On a recent trip into the city, I was fortunate enough to have caught the last days of the FRAVER exhibit at the New York Public Library for the Performing Arts, Dorothy and Lewis Cullman Center and the middle of the McMullan exhibit at the same library, just one floor down at the Vincent Astor Gallery. This branch of the NYPL is located, fittingly enough, at Lincoln Center, in the back, near the new park/seating area and adjacent to the Vivian Beaumont/Mitzi E, Newhouse Theatres. The FRAVER exhibit is no longer showing, but the McMullan exhibit runs through June 11. It is open Monday – Saturday at noon, and closes at 8PM on Mondays and Thursdays, 6PM every other day; it is closed on Sundays.

Like FRAVER’s work itself, his exhibit was simple and straight forward: a small alcove of his show logos on objects, like a souvenir apron from the original production of Sweeney Todd, a few Playbills, and even his logo engraved on a silver flask for the show Looped. The main attraction, though, is his prolific theatre poster collection. With a 4 decade career, it would not be practical to have a sample of every show he designed, but there was a fairly large collection stretching all the way down the main hall and around the corner. Seen as a collection, I found it interesting to note the similarities – his signatures, if you will – like clean lines, sharply contrasting colors, vivid iconography and careful, deliberate use of type face to convey what a show was all about. And yet the individuality of each design is equally thrilling to behold. No two are alike. I have previously blogged about this artist’s works (including several examples), which you can find HERE.

The McMullan Exhibit Brochure

The McMullan exhibit gets the star treatment downstairs at the Vincent Astor Gallery, where, like his theatre posters, each work represented, is shown just as any other artwork would be at the Met or MoMA. The exhibit is primarily of his theatre art for Lincoln Center, though one wall does exhibit some of his other art used for advertising outside of theatre. Some of his most famous works line the walls, in huge form: those giant subway posters that used to hang everywhere or as banners outside the Vivian Beaumont. Along side each is a small, individually drawn and painted original of the giant poster. The contrast is stunning, as you can see the actual pencil lines through the watercolors, not just a blown up version of the same.

In the center of the room are a series of glass display tables that show you the complete process for several of his works, from initial pencil sketches, to photographs of human models from which he draws his forms. Many also contain several drafts of each poster that lead you to the final product. From this you can really see the artist’s mind at work. Among the more interesting things I found was the genesis of one of my favorite McMullan works, The Glorious Ones and the use of the model to create his Ah! Wilderness!. I was also surprised, considering the resemblance of the figures to actual cast members, that much of his South Pacific poster is based on movie stills from the movie version of the show, not the recent revival.

Step 1: Modeling several potential poses

(Actor Sam Trammel)

Step 2 (left): Sketch and experiment with color

Step 3 (right): The final image and poster

As a lover of theatre art, I thoroughly enjoyed both exhibits. While you still have the chance, maybe if you get to War Horse early, you can go in and see the McMullan exhibit. You can do the whole thing quickly or linger. There is even a short documentary film that runs on a loop if you are so interested. But it is a free exhibit and a worthwhile use of a half an hour or so during a trip into the city and to Lincoln Center itself.


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Jeff
2.255

LOGOS: War Horse

Grade: A+

To fully understand and appreciate some of the choices that were made in creating the logo for War Horse, one must take a look at where the production started: The National Theatre of Great Britain.  War Horse, like The History Boys before it (as well as all of their productions), is a part of a branding style for that venerable theatre company.  By having all of their logos consist of thought-provoking, story-telling photographs and brightly colored, plain (if bold) typeface telling us the title of the production.  The idea is that one can look at any of their theatre logos and instantly recognize a "National Theatre of Great Britain" production.

You can see that style here in the artwork - the same on both the West End and Broadway - for The History Boys.  Notice that the photos immediately tell us part of the story: these are boys that attend the same class in school (the "class photo" version) and that these boys are friends beyond school (the "line up" version).  Both photos work at a glance, since you can tell that from just looking at the images.  But closer inspection reveals much more as each boy in each photo reveals much about his personal character trough facial expression, posture and the like.  Relationships are even inferred in the way they arranged.

That kind of broad, instant recognition - crucial for any successful logo - is also very apparent in the art work for War Horse.  Instantly recognizable is the lose-up of the horse's eye and nose, his chestnut/reddish color so warm, majestic and beautiful like the animal itself.  The across the bottom we see a rough, rugged terrain populated by soldiers on a march in silhouette.  A quick glance tells us they are soldiers, with guns in hand all marching in the same direction - toward an explosion of epic proportions.  War: check.  Horse: check.

But a closer look reveals much more about this compelling story of man and beast at war.  The horse's eye reflects the same line of soldiers.  Clearly, the animal follows their movement, and is in his thoughts.  Why are these men walking away from the horse?  Is the horse with them?  (An earlier version of the logo depicts just that.)  And then notice the particulars of the men.  Even in silhouette, you can't help but notice the fatigue in their posture, many with heads down, exhausted, despairing.  Notice, too, that they are not in formation, but rather walking in pairs or in solitude.  These man, it is apparent have survived, but the magnitude of what they have been through clearly weighs heavily on them.  (Not to put too fine a point on it, one can tell from the shapes that these are soldiers from the first World War.)

With its bold red-orange "WAR" and more earthy, but cautionary yellow "HORSE" we can tell it is a NTGB production.  But the choice of color and placement of the title suggests just how significant the story of this animal must be; how majestic and powerful.

Finally, I think it very telling, in a terrific way, that the poster reminds us that very real people and animals were a part of this "war to end all wars."  Once you attend the show, and are swept away in its thrilling theatricality, it is vital to remember that real men, not actors, and real horses, not magnificent puppets courageously lost their lives fighting in one of mankind's worst follies.


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Jeff
2.253

LOGOS: The People in the Picture

It is very rare that I am divided on a show logo, but that is definitely the case with Roundabout Theatre Company’s The People in the Picture. And since it has been completely overhauled, and they are resorting to ads that include a Donna Murphy head shot, I can only guess that whoever is in charge of their artwork is at a loss as to what to do with it. I have a suggestion: combine the two versions and skip the picture of Ms. Murphy. Her name above the title is all a theatergoer will likely need. (If they are trying to reach a broader audience, then I can say nothing more than “quit while you’re ahead.”)

The initial artwork/title work was a simple thing, evocative and simple, perhaps too simple. But as a title alone, it works. The framed, bent-cornered image coupled with a faded, sometimes rubbed out light blue color is evocative of an old photo and of home. That light blue shade most definitely gives off a “homey” feeling; it personally reminds me of the color of plates my grandmother used to serve lunch on. (The darker blue, more detailed plates were, without a doubt, Sunday-only dinnerware!) Of course, by making the title on a “picture,” it references the title itself, while the typeset is old-fashioned and manages to be both familial and formal. And so, without so much as an icon, the title in this treatment at least tells us that the story has to do with family, and a few generations at the least given the “aging.”

Then, all of a sudden, the show logo emerged, and odd mix of interesting iconography and unattractive typeface. Now we have a very un-warm shade of purple against a beige/peachy-ish background, the title in places looks 3D, and a cold box lettering style throughout. I have to admit I simply do not get what they are doing with this titling; what I do know is that I don’t like it. It looks thrown together. Perhaps it is a compromise? No matter. It is ugly.

But then there is the image that goes with it. Purple-shaded sepia toned (to match, I assume, the title) photo of a happy, curly haired little girl in overalls. I think we can assume from the tones of color that it is meant to be an old-time photo, but she could be a child of today (my niece wears similar overalls at age 4). This, I think is interesting, as the story of the show goes back and forth between generations.

Even more interesting is the way the photo is presented. At first glance, it looks like a simply torn photo, which begs the question: who got torn out of the picture? And are the missing ones (+ the child) the “People in the Picture”? Then you look closer and notice that the torn corners are not just rips, they are silhouettes of people that look like they are looking at the child. The same questions remain, but much deeper. Are the torn “faces” contemporary people looking at the girl from the past? After all, the “tears” have to have happened AFTER the picture was taken. And the “tears” in the paper are white, not aged, hinting that they are more recently made still.

And so there is an enigma. Half of the logo works, the other half doesn’t. And as good as the part that works is, it isn’t THAT compelling to start with. I’d have gone with a “two photo” logo if it were my decision. One, the original title “picture” perhaps aged or stained, maybe “fastened” down with yellowing tape; the other the torn image of the girl, with some of it “under” the title, as if the photos had been stacked but are now askew. That would have created one cohesive title-image, and have made it more interesting.

As it stands now, only the name above the title interests me enough to buy a ticket. I guess it is a good thing Roundabout has a big subscription base.

Grade: C+



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Jeff
2.225