2011 Tony Awards: Show Blog w/ Updates

I will update the blog every 10 minutes or so, with additions AT THE BOTTOM, so please scroll down to see new information.

Hello, everyone!  I bet if you are here, you are as excited as I am about the 65th Annual Tony Awards!

Tonight, I will be blogging to you throughout the telecast, starting at 7PM with the Creative Arts Awards.  I'll recap the winners and offer commentary on everything from the opening number to host Neil Patrick Harris to the presenters to the big production numbers, and anything else that happens on live TV! 

And in between things, look for a few words about Team Going, Going Gone! the Opening Number Dancers Team for Broadway Bares XXI: Masterpiece.  I hope you'll join me for some or all of your evening.

Have a comment as the show goes on?  I'll be monitoring my email, too: jkstheatrescene@yahoo.com.  Thanks again for joining me and supporting JK's TheatreScene.

Congratulations to all of this year's nominees and winners!

6PM: The Red Carpet

OK, at the risk of starting off like a negative Nellie, a few comments:

• Can anyone at NY1 hold a microphone?
• Who that is THEATRE REPORTER can't pronounce "choreographer" in front of a celebrated choreographer?  The dork from NY1!
• The cast recording of BOM was kept a secret until it was released this week?  Um, NPR had it for free and it has been on YouTube for weeks.
• Do your research... Helen Reddy did do Broadway... Blood Brothers!

OK, now the positive:

• Reeve and Jennifer looked stunning, even has they had to answer such banal questions...
• James Earl Jones looks amazing...certainly NOT 80-something.
• Judith Light, you are stunning.  Please come back soon!
• Andrew Rannells, Josh Gad and Rory O'Malley sure clean up nicely!
• Douglas Cater Beane... could anyone be more gracious?  And Patina... you go, girl!
• Are Sutton Foster and Bobby Canavale adorable together or what?  Are they going to be the next Lunt-Fontanne?
• How can you NOT love Harry Connick, Jr.?  Can't wait for CLEAR DAY!!!
• Hannah Yelland is fabulous!

Tonight, I am pleased to advertise for Team Going Going Gone! the Opening Number Dancers for Broadway Bares XXI: Masterpiece.  They are holding a pre-show special event at Splash! tomorrow night to benefit BCEFA!  Here's a peak at one person you will see... my buddy Andrew Glaszek!

7:30PM: The Creative Arts Tony Awards

Let me join the chorus of disapproval for how the "Creative Arts Tonys" are being handled this year... 3 before the telecast, and the rest during commercials?  BAD FORM!  Ok, you don't want to take time from the bigger money-making moments, but at least webcast them all like last year!  Show some respect, huh?

Laura Benanti and Katie Finneran, Presenters:

• Athol Fugard was given a standing ovation when presented his Lifetime Achievement Award.  He said, simply, "Thank you, South Africa.  Thank you, America."
• WINNER: Best Orchestrations, Larry Hochman and Stephen Oremus, The Book of Mormon
• WINNER: Best Score, Trey Parker, Robert Lopez and Matt Stone, The Book of Mormon

8PM: The Tony Awards Telecast

Opening Number/Welcome:

Love his opening number…”Not Just For Gays Anymore” Glee and gay jokes are funny as hell… plus the ensembles of the shows… You go, Brooke Shields! Best opening in years!

• WINNER: Best Performance by an Actress in a Featured Role in a Play:Ellen Barkin, The Normal Heart  A genuine speech. Honest, true and passionate.

“The Brotherhood of Man” from How to Succeed in Business Without Really Trying

One of the best numbers in the show, a great showcase for non-nominee Daniel Radcliffe. Too bad they keep cutting to every camera in the building. You can’t really see the spectrum and breadth of this spectacular number.

• WINNER: Best Sound Design of a Musical, The Book of Mormon, Brian Ronan

John Leguizamo's Ghetto Klown  is hilarious!  And poignant.

  

• WINNER:Best Performance by an Actor in a Featured Role in a Play: John Benjamin Hickey, The Normal Heart: A gracious speech, and thank you’s too much. They cut him off?

“Live in Living Color/Don’t Break the Rules” from Catch Me If You Can

A great way to showcase cutie pie Aaron Tveit, while really showing off the show’s greatest assets: the swinging music, big dancing and star Norbert Leo Butz. He did not scream the number when I saw the show, though.

• WINNER: Best Choreography: Kathleen Marshall, Anything Goes
• WINNER: Best Direction of a Musical: Casey Nicholaw and Matt Stone, The Book of Mormon. Fast, exuberent and a very well-deserved thank you to South Park fans. 
• WINNER: Best Direction of a Play: Marianne Elliott and Tom Morris, War Horse.  Those Brits sure can talk... but it would have been nice to hear how the show grew, since we won't see any of it.

"Hey!  Hey!  Hey!/Commencing in Chattanooga" from The Scottsboro Boys

If there was any doubt why this show earned 12 Tony Awards nominations, let it be put to rest with this exciting, energetic number superbly performed by the great cast.

Angela Lansbury is always a treat.  What else can I say?

• WINNER: Best Actress in a Featured Role in a Musical: Nikki M. James, The Book of Mormon  Great to see genuine surprise and emotion from a winner.

"I Believe" from The Book of Mormon

This is EXACTLY why Andrew Rannells deserves to win the Best Actor over Josh Gad.  A triumph of campy humor and heart-warming sincerity.  It is also one of the least offensive numbers they could do out of context.  Still it doesn't show the best of the show.

WHY ARE ALL OF NUMBERS NEARLY DONE AT 9:10PM?

See what you can entertain yourself with tomorrow night?  Support BCEFA at SPLASH!

A Hugh Jackman/Neil Patrick Harris Mash-up/Show Down:  It can't lose!!  Love the tribute to all the great shows, and so well-performed!  So far, the best numbers aren't from shows!

I officially love Brooke Shields!

  

• WINNER: Best Actor in a Featured Role in a Musical, John Larroquette, How to Succeed in Business Without Really Trying A sweet speech that belied some genuine emotion.

Bono and The Edge: Nice digs at each other and their critics.  A nice speech, sincere and funny.

"If the World Should End" from Spider-Man: Turn Off the Dark

One of the best, if not the best, songs in the show.  The dramatic weight at least remains in 2.0.  Thank God.

• WINNER: Best Sound Design of Play, Thomas Shutt, War Horse
• WINNER: Best Costume Design of Play, Desmond Heely, The Importance of Being Earnest

Well, they still haven't solved how to represent plays... Would you want to see either Good People or Jerusalem based on that?  And Mark Rylance was unintelligible.

Robin Williams is funny.  But didn't we cover Spider-Man already?

• WINNER: Best Book of a Musical, Trey Parker, Robert Lopez and Matt Stone, The Book of Mormon It is nice to see that they can be sincere and not "on" all the time.  A slice of humble pie will go well with all those Tonys, boys.

Whoopi Goldberg is the queen of self-deprecating humor.  And let's hope they skip making Jumping Jack Flash into a musical.

"Raise Your Voice" from Sister Act

One of the best numbers in the show... but that moment is iconic to film fans, who might not understand why they aren't singing the song from the film.  And Patina didn't have a cold when I saw it, after all.  Turns out she really is that nasally.

Bobby Canavale and Seth Numrich both made me want to see their plays, The Mother with the Hat and War Horse.

• WINNER: Best Revival of a Play, The Normal Heart An eloquent speech by Daryl Roth, and a nicely understated, brillianmt speech by Larry Kramer.

"Steal Your Rock n' Roll" from Memphis

So nice to include the kids!  And so nice that they got to re-do the number that went unheard due to sound issues last year. 

• WINNER: Best Costume Design of a Musical: Tim Chappel and Lizzy Gardiner, Priscilla Queen of the Desert
• WINNER: Best Scenic Design of Play, Rae Smith, War Horse
• WINNER: Best Senic Design of a Musical, Scott Pask, The Book of Mormon
• WINNER: Best Play, War Horse Sussinct, if not not particularly passionate.

Joel Grey is so damned cute just as he is... why does he over do the cute on stage?

"Anything Goes" from Anything Goes

A truly great tap number.  Won't audiences be shocked when THAT'S IT?

James Earl Jones and Vanessa Redgrave get a well-deserved standing ovation.  And offer strange dramatic readings in return.

And we go back to showing stars, not plays...

"Side By Side" from Company

Not bad. Not revelatory.

Kelsey Grammer has a great speaking voice.

• WINNER: Best Revival of a Musical, Anything Goes A by-the-book speech if ever there was one.

 A lot of greats have left us, indeed. 

• WINNER: Best Actress in a Play, Frances McDormand, Good People WOW.  Started out great, got a touch wacky... and that exit... oh well, when you are that good...
• WINNER: Best Actress in a Musical, Sutton Foster, Anything Goes  A terrific speech, made memorable for its laughter-through-tears moment.

"It's Raining Men" from Priscilla Queen of the Desert

Despite sound issues, it still looks and sounds like what it is.  The most unapologetic fun on Broadway, period. 

CONTRIBUTE TO BROADWAY CARES!  HOW'S THIS FOR HOT?

• WINNER: Best Lighting Design of a Musical, Brian MacDevitt, The Book of  Mormon
• WINNER: Best Lighting Design of a Play, War Horse
• WINNER: Best Actor in a Play, Mark Rylance, Jerusalem  How to make an entire nation renew its hatred for theatre geeks.  This is why people think we are weird.  If he had skipped the fence bit, Norbert might have gotten to give proper tribute to his late sister, instead of having to scream it.
• WINNER: Best Actor in a Musical, Norbert Leo Butz, Catch Me If You Can  Great speech, great performance, great guy.
• WINNER: Best Musical, The Book of Mormon 

Chris Rock.  Whatever, Motherf***er.

Neil Patrick Harris is no rapper, but left us as we started.  Laughing.

TONY TALLY
The Book of Mormon - 9
The Normal Heart - 3
War Horse - 5
Anything Goes - 4 
How to Succeed - 1
The Importance of Being Ernest - 1
Priscilla Queen of the Desert - 1
Good People - 1
Jerusalem - 1
Catch Me If You Can - 1

2.288

CD REVIEW: Women on the Verge of a Nervous Breakdown

One of my biggest disappointments from last season was the musical Women on the Verge of a Nervous Breakdown.  But it wasn't a disappointment for me for all of the reasons you are probably thinking.

I was privileged, yes privileged, to see the second preview of the show.  It was the thrill of this theatre fan's life to see some of the most revered talents on Broadway "in process."  Sure the show wasn't ready.  As I said way back when I saw it, it needed a fast opening number, it needed clarity, and it needed a consistently zany pace.  One of the biggest problems with it is that it relied too heavily on the audience understand European sensibility and the Latin style of telenovelas.  The closest thing we have here is soap operas which wouldn't know fast pacing if their lives depended on it.  And in those first previews, the translation of film style staging - vignettes sliding by, projections of colors moving every which way during scene changes, and even creating close ups and montages - was creaky at best.  But, and here is where I diverge from the common consensus of the audiences and critics, I could still see through all the clutter what was going to be.  And what it was going to be was something smart, sexy and as non-Broadway a sensibility as one can get.

I had tickets to revisit the show just before its scheduled limited engagement was over.  Unfortunately, the show closed early, and I never got to see what I was sure was a terrific musical when all was said and done.  Yet another show, that pushes boundaries and asks its audience to participate by thinking and feeling outside the box, failed despite the constant outcry from theatregoers for just that sort of thing.  And so you can see why it ended up being a disappointment.

But the great news is that Women on the Verge of a Nervous Breakdown, the Broadway musical version, will live on forever thanks to Ghostlight Records, which went ahead with a cast recording despite the show's untimely demise.

Grade: A+

Title: Women on the Verge of a Nervous Breakdown
Artist: Original Broadway Cast Recording
Label: Ghostlight Records
Number: 8-4447
Format: Single CD
Case: Single Jewel Case
Booklet: Full color production photos; complete lyrics; essays by Pedro Almodovar and Frank Rich

As I did not formally review the show, I will offer my comments in a slightly different format than usual.  I caveat everything I say below with this understanding: I did not see the final product, but based on the differences between what I saw and what is preserved on this recording tells me that nearly everything I had hoped they would do, they did.

The Booklet:
This one is of high quality, with a full color rendition of the show's manic logo, and full color throughout.  Included is a sweet essay from Pedro Almodovar, upon whose film the show was based.  As you might expect he offers nothing but praise for the creative team and cast.  More surprising, and more appreciated by this listener at least, is a very telling essay by Frank Rich, former New York Times reviewer who could cut your career to shreds with some scathing reviews.  The difference between him and his predecessors is that his criticism was agenda-free and applied equally no matter if you were a new Broadway talent or a 10 time Tony winner.  And generally, after the hurt and anger subsided, you could at least understand his point of view, even if you couldn't fully agree with it.  Pithy, bitchy sound bites were not his thing.  And the essay he includes here is very telling of the final product.  While it is clear that he found the show to be imperfect, he finds much of it ahead of its time, and goes so far as to say that Women on the Verge will join the ranks of many a show that critics and audiences failed to embrace at first, but have/will become beloved. 

I also love that the booklet contains great color production photos as well as the super snazzy cast photo that was outside the Belasco Theatre.  And I love the complete synopsis as well as lyrics (including some stage directions), which really help to illuminate the complete work.

The Quality of Sound:
A big fan of both of David Yazbek's previous Broadway scores, The Full Monty and Dirty Rotten Scoundrels, it is wonderful that this gem has been recorded.  All three scores are from projects where films have been turned into musicals, and like the first two, Yazbek has captured not only a Broadway sensibility in his music and lyrics, but the rhythms and sentiments of the particular piece.  Time and again, he has brought to vivid life the vibrancy and urgency of Latin music and culture.

Simon Hale's (along with additional work from Jim Abbott and David Yazbek) orchestrations are lush and full.  The background under the main tune is consistently rich with complicated patterns of percussion and individual instrumentation that mirror the craziness of what is going on, whether it is zany physical action or the crazed musings of women ready to kill for their lovers, kill their lovers or even themselves, so desperate a frenzy these ladies are in.  Jim Abbott's musical direction allows that same depth in the vocals as well.  How wonderful, for example, to hear Patti LuPone work her same magic in solo numbers AND as a part of the ensemble!

The Quality of Performance:
As one might expect from a group of actors with the level of pedigree that that this company has, the performance quality on this recording is extraordinary, from the supporting vocals of the ensemble to the leads and the supporting cast.  No one is a star here, and yet everyone is giving a star turn on this album.

One wishes there were a bit more dialogue and more material for both Justin Guarini and Nikka Graff Lanzarone, both of whom delivered the goods in their Broadway debuts.  But really, other than that, this cast recording captures great performances and some really superb songs.  I find myself really liking almost 100% of the score after several listenings.  Even upon my first listen, I liked nearly the entire thing, and really loved several songs right off the bat.  I have learned over the years not to immediately judge a new score until I have listened to it many many times, allowing it to become almost background music in my mind.  It is at that point that different things strike my ears and brain at different times.  With this score, I really have learned to appreciate the imagery, sensuality and bold sexuality of the lyrics.  And I have really come to admire that Yazbek (and book writer Jeffrey Lane) allowed the stage version to rely less on shtick and physical comedy throughout and allowing the frenzy of these women to show up in their thoughts and emotions.  One probably associates being "on the verge' with the hilarity and physicality of Laura Benanti's likely Tony turn, "Model Behavior," which even on just the recording sounds like a mad dash all around the stage.  But there is also the more emotional breakdown allowed by Patti LuPone's equally frantic but physically subdued "Time Stood Still" and most definitely in a showcase of understatement, "Invisible."  Then, too, is the lashing out from scorn by Sherie Renee Scott in "Lovesick," which succinctly (and devilishly) tells us that sexually, women can think with their crotches just like men do.  And later, her disappointment and anguish over what was supposed to be is revealed in the complex "Island."  These are women who think with their hearts and bodies first, and when their minds catch up, go right to the brink.  Song after song tells us how a woman, who is otherwise smart and fully self-realized, can fall so fast and easily for a known Lothario, a nebbish geek living under his mother's thumb and in his father's shadow, and even a known terrorist.

And those men are mostly in the periphery of the show, as they should be, but they are not just plot points, but rather the catalysts for the whole show.  Brian Stokes Mitchell, as Ivan, male slut, uh, Casanova, makes the sensuality seem so easy in "Lie to Me," and radiates charm right through your ear buds in "Microphone," supported in that number by his learning-the-ropes son, played by Justin Guarini.  And if Ivan's philosophy and magnetism weren't already apparent, he lays it all out for you in "Yesterday, Tomorrow and Today.

The ending number, "Shoes from Heaven," as well as the bonus track, the original opening number (which did not work dramatically) "My Crazy Heart," are beautiful, complex numbers which give the show emotional depth and some gorgeous vocals to boot.

I'm not going to pretend, though, that the spicy songs with their urgent beat and tricky word play don't appeal to me the most.  They do.  I have the overture, "Madrid Is My Mama," the vastly superior opening number, which used to open act two, "Model Behavior," "On the Verge," and "Tangled" programmed to play and repeat in my car.  They are nothing less than exhilarating!

Yes, not seeing the final production will always nag at me.  But I am so grateful that I got to see it at all.  Women on the Verge, I hope, is really on the verge of big things!


Comments?  Leaver on here, email me at jkstheatrescene@yahoo.com or Tweet me!
Jeff
2.269

Back in Time: 2002: Into the Woods (Revival), Part IV

In the last installment of this blog-series, we took a look at the supporting cast of the 2002 revival of Into the Woods.  In this, the final part of the series, we take a look at the main cast of the show.  While Vanessa Williams and John McMartin were the above-the-title stars - both box office names to be sure, even they would likely admit that they were in an ensemble of leading characters that bring the intricate weave of several fairy tales together.  In keeping with that thought of ensemble, here are the rest of the cast members in alphabetical order:

Gypsy

Laura Benanti (Cinderella)

Before Into the Woods: The Sound of Music, Swing! (Tony nomination - Best Featured Actress in a Musical)
During Into the Woods: Tony nomination: Best Featured Actress in a Musical
After Into the Woods: The Violet Hour, Nine, The Wedding Singer, Gypsy (Tony Award Winner - Best Featured Actress in a Musical), In the Next Room, or The Vibrator Play, Women on the Verge of a Nervous Breakdown

(Left) The Savannah Disputation

Marylouise Burke (Jack's Mother)

Before Into the Woods: Fuddy Mears, Kimberly Akimbo (both off-Broadway), Inherit the Wind
After Into the Woods: Is He Dead?

A Broadway holiday benefit

Stephen DeRosa (The Baker)

Before Into the Woods: The Man Who Came to Dinner
After Into the Woods: Hairspray, Henry IV, Twentieth Century

Gregg Edelman (Wolf/Cinderella's Prince)

Before Into the Woods: Cats, Les Miserables (original production), Anything Goes (1987), Cabaret (1987), City of Angels (Tony nomination - Best Actor in a Musical), Falsettos, Anna Karenina (Tony nomination - Best Featured Actor in a Musical), 1776, Passion
During Into the Woods: Tony nomination - Best Featured Actor in a Musical
After Into the Woods: Wonderful Town, A Tale of Two Cities

(3rd from Left) Fiddler on the Roof

Molly Ephraim (Little Red Ridinghood)

During Into the Woods: The show marked her Broadway debut!
After Into the Woods: Fiddler on the Roof

(Left) Is He Dead?

John McMartin (Narrator/The Mysterious Man)

Before Into the Woods: Sweet Charity (original cast, Tony nomination ; Best Featured Actor in a Musical), Follies (original cast), The Great God Brown, Don Juan, Show Boat (1995 revival - Tony nomination - Best Featured Actor in a Musical), High Society (Tony nomination - Best Featured Actor in a Musical)
During Into the Woods: Tony nomination - Best Actor in a Musical)
After Into the Woods: Grey Gardens, Is He Dead?, Anything Goes (2011 revival)

(Left) Irving Belin's White Christmas

Kerry O'Malley (The Baker's Wife)

Before Into the Woods: Cyrano: The Musical, Translations, Annie Get Your Gun (1999 revival)
After Into the Woods: Irving Berlin's White Christmas

(Left) With Shrek Broadway Bear

Christopher Sieber (Wolf/Rapunzel's Prince)

Before Into the Woods: Triumph of Love, Beauty and the Beast, Chicago, Thoroughly Modern Millie
After Into the Woods: Spamalot (Tony nomination - Best Featured Actor in a Musical), Shrek: The Musical (Tony nomination - Best Featured Actor in a Musical), La Cage aux Folles (2010 revival)

Kiss of the Spider Woman

Vanessa Williams (The Witch)

Before Into the Woods: Kiss of the Spider Woman
During Into the Woods: Tony nomination - Best Actress in a Musical
After Into the Woods: Sondheim on Sondheim, TV's Ugly Betty and Desperate Housewives

Wicked (National Tour)

Adam Wylie (Jack)

During Into the Woods: He made is Broadway debut!
After Into the Woods: Wicked (National Tour)


  Interesting just who were supposed to be the breakout stars of Into the Woods, as annointed by various news papers and theater websites: Stephen DeRosa and Kerry O'Malley, both of whom have maintained careers on the New York stage, but are hardly "breakout stars."  Meanwhile, one of Broadway's favorite guys, Christopher Sieber, has gone on to considerable acclaim - and his "helping out" La Cage aux Folles might just propel him even further.  (A coincidence that just this week, Christopher Sieber was announced to return to Chicago, then was called in to join the La Cage aux Folles company following the abrupt departure of Jeffrey Tambor in that show.)  Of course, Broadway stars Vanessa Williams, Marylouise Burke, Gregg Edelman and the legendary John McMartin continue to share their considerable gifts with the world via stage, television, music and film.  And it should have been no surprise that Laura Benanti went on to huge stage success, and is today considered one of Broadway's best actresses, but it was surprising considering her rough departure from both Into the Woods and later The Wedding Singer, as serious back and throat injuries, respectively, could have spelled the end of what has become an acclaimed career.

Look for another "Back in Time" series of blogs coming this summer.


Comments?  Leave one here, email me at jkstheatrescene@yahoo.com or Tweet me!
Jeff
2.184

DVD REVIEW: Sondheim! The Birthday Concert

DVD: Sondheim!  The Birthday Concert. Presented in March 2010 at Avery Fisher Hall at Lincoln Center for the Performing Arts, New York City. Conducted by Paul Gemignani.  Hosted by David Hyde Pierce.  Written by Lonny Price and David Hyde Pierce.  Produced and Directed for the Stage and Television by Lonny Price.  A presentation of Ellen M. Krass Productions and THIRTEEN in Association with WNET.ORG. 116 minutes.

Grade: A+ (I'd go higher if possible!)

Let me just cut to the chase here.  Sondheim!  The Birthday Concert is the best performance of its kind that I have ever seen on screen.  Bar none.  It is expertly staged, filmed, and edited by Lonny Price.  The quality of the sound is beyond excellent.  The pace is quick, witty, reserved when appropriate and celebratory throughout, particularly due to the superb hosting of David Hyde Pierce, who, oddly enough, has never done a Sondheim show.  (Let's remedy that one fast...).  Even the setting is cool... the entire orchestra shell draped in billowing material and lit as a giant birthday package.

And what gems that package holds!  First and foremost, what evening of this magnitude for Stephen Sondheim would be complete or so well taken care of without the masterful baton of Paul Gemignani, the man who has conducted every single original Sondheim production since 1975?  And who better to have him conduct than The New York Philharmonic?  The sound is pure bliss.  Their "Birthday Overture" and "Theme from REDS" really allow them to shine, but their contribution to each song is immeasurable and definitive.

The cast list is a who's who of two kinds.  As one might expect at an occasion such as this, names associated with Sondheim's works are plentiful:  Bernadette Peters, Elaine Stritch (who at this point in time had no idea that they'd be critically acclaimed in Sondheim's A Little Night Music), Mandy Patinkin, Donna Murphy, Marin Mazzie, Patti LuPone, George Hearn, Jim Walton, John McMartin, Joanna Gleason and Chip Zien.  The second list is a who's who of today's youngest and brightest (and simply magnetic) performers, some of whom have Sondheim on their resumes, some who don't: Bobby Steggert, Audra McDonald, Laura Benanti, Laura Osnes, Matt Cavenaugh, Jenn Colella, Victoria Clark, Michael Cerveris, Jason Danieley, Alexander Gemignani and Karen Olivo.  Opera singer Nathan Gunn, ABT dancers Blaine Hoven and Maria Riccetto, and the Shark girls from the revival of West Side Story round out the stellar company.

And given the level of talent on that stage, one would expect a flawless evening.  And that is exactly what you get.  How nice to have all expectations met and exceeded.

Following the overture, the evening opens with a few songs that Mr. Sondheim only contributed lyrics to - "America," with Olivo and the girls recreating the number from the revival, and Alexander Gemignani delivering a simple and lovely "Something's Coming" from West Side Story.  Jason Danieley and Marin Mazzie offer a fun "We're Gonna Be Alright" from Do I Hear a Waltz?, and Victoria Clark showed of her comic chops with a seldom recorded number, "Don't Laugh," a song written to help a show in trouble out of town called Hot Spot.  "New talent" is called upon for "Johanna" from Sweeney Todd (Nathan Gunn) and "You're Gonna Love Tomorrow"/"Love Will See Us Through," from Follies, featuring the charismatic talents - and I mean all four fairly jump of the screen oozing charm and charisma - of Matt Cavenaugh and Jenn Colella and Bobby Steggert and Laura Osnes.  All four reveal a very promising future for the Broadway musical.

The next segment of songs includes a variety of original cast performances - a touching Follies number from John McMartin, and Jim Walton singing a song from Merrily We Roll Along that wasn't even written when he starred in it.  But the real highlights were the crowd-pleasing reunions of Chip Zien and Joanna Gleason, doing "It Takes Two" from Into the Woods, and "Finishing the Hat"/"Move On" by Mandy Patinkin and Bernadette Peters.  All four transported us back as if they were still doing their shows 8 times a week.  "Move On" was particularly brilliant, with both Peters and Patinkin in superb voice.  A funny and brilliantly conceived hybrid was up next with dueling Sweeneys Michael Cerveris and George Hearn doing a stunningly sung and acted "Pretty Women", and then the hilarious trio - yes, trio - of Cerveris, Hearn and Patti LuPone doing "A Little Priest."

The final segment - notable for the much publicized "red dresses" alone - proved to be the absolute icing on the cake.  Six of Broadway's greatest living divas took the stage and each delivered a "Sondheim Lady" number.  Each was an absolute treasure, but three numbers really stood out for me: Patti LuPone's blistering and for me now definitive rendition of "The Ladies Who Lunch", complete with a sincere and touching moment between LuPone and Elaine Stritch, originator of the role.  Strich, on her feet the second it was over, LuPone gesturing for an ovation for Stritch.  It was a beautiful of the moment moment.  The second standout was the biting and humorous "Could I Leave You?" from Follies as presented by Donna Murphy.  A study in song interpretation and acting, this, too, is for me a definitive version.  But the absolute treasure of the evening was Elaine Stritch's comic, bold, and honest interpretation of "I'm Still Here" from Follies.  It is the very definition of brilliance.  And it stands as testament to what a great theatre legend she still is.  Brava, indeed.

When the actual event happened, it made headlines for obvious reasons, but also because the casts of every then current Broadway show came to pay tribute to the musical theatre master.  For the closing number, some 287 singers filled every aisle on all levels of the hall and on the stage to sing, for a visibly moved Stephen Sondheim, "Sunday" from Sunday in the Park with George.  You'd have to be in a coma or worse not to be moved by this giant tribute.

What strikes me most about this particular concert is that because the very best talents came together, it was even more evident just how genius his works are.  Without fail, the minute each number started, every single performer got that "in the zone" look of intensity, followed by what I call the "Sondheim Look."  You may know it - the singer can't help but act the entire song, so evocative are the lyrics, and because each is so complex their eyes glaze over in an amazing level of concentration.  Even the really great ones do this.  But the most remarkable thing is that all of this still happens when each number is without context.  Here, the "Sondheim Look" is joined by an expression of sheer joy and admiration.  It is as if each performer is also seeing outside him or herself and even as they interpret are in awe of the fact that they are getting to do this for the master himself.  (Would that every Christine/Phantom pairing had this magic!)

Of course, the man is the reason for the occasion, but isn't it wonderful to celebrate a life that continues to give all of us so many gifts?  This DVD is a lasting testament to the genius and artistry of one of Broadway's greatest people.



Comments?  Leave one here, email me at jkstheatrescene@yahoo.com or Tweet me!
Jeff
2.132

Trends of The First Ten Years: The Decade of the Diva

For this blog, I am sing the term "diva" in both the traditional sense - big, brassy personality with powerful performances - and in the general sense - a strong Broadway gal with a career on the stage.  Some of these ladies have been around for decades; others really came into their own during the decade just past.

But no matter how you consider them, the first decade of the new millennium would have been nothing with out them!

Child Star to Broadway Diva... the Andrea McArdle of 2K: 

Allie Trimm (13, Bye Bye Birdie)

The New Kids on the Block... Look Out New Decade!

1.  Karen Olivo (In the Heights, Tony-winner for West Side Story)

2.  Jennifer Damiano (Spring Awakening, next to normal - Tony nominee, Spider-Man: Turn off the Dark)

3.  Elizabeth Stanley (Company, Cry-Baby, Xanadu, Million Dollar Quartet)

4.  Megan Hilty (Wicked, 9 to 5: The Musical)

5.  Jenny Powers (Grease, Little Women, Happiness, It's a Bird...It's a Plane...It's Superman!)

A Classic Broadway Lady Never Goes Out of Style

Marian Seldes

1.  Elaine Stritch  (At Liberty!, A Little Night Music)
2.  Marian Seldes (Deuce, Lifetime Achievement Tony Award)
3.  Liza Minnelli (Minnelli on Minnelli, Liza's at the Palace!)
4.  Chita Rivera (Nine, Chita Rivera: The Dancer's Life)
5.  Bernadette Peters (Gypsy, Founder of Broadway Barks, A Little Night Music)

These Gals Are In It for the Long Haul... Multi-decade Stage Careers

1.  Phylicia Rashad (A Raisin in the Sun - Tony Award, Gem of the Ocean - Tony nominee, Cymbeline, Cat on a Hot Tin Roof, August: Osage County)
2.  Faith Prince (James Joyce's The Dead, Bells Are Ringing - Tony nominee, Noises Off, A Catered Affair - Tony nominee, The Little Mermaid)
3.  Jan Maxwell (The Dinner Party, Sixteen Wounded, Chitty Chitty Bang Bang - Tony nominee, Coram Boy - Tony nominee, To Be or Not to Be, The Royal Family - Tony nominee, Lend Me a Tenor - Tony nominee)

4.  Cherry Jones (A Moon for the Misbegotten - Tony nominee, Major Barbara, Imaginary Friends, Doubt - Tony Award, Faith Healer)
5.  Donna Murphy (Wonderful Town - Tony nominee, Lovemusik - Tony nominee, Anyone Can Whistle)
6.  Charlotte d'Amboise (Contact, Chicago, Sweet Charity, A Chorus Line - Tony nominee)
7.  Debra Monk (Thou Shalt Not, Reckless, Curtains - Tony nominee)
8.  Tonya Pinkins (The Wild Party, Caroline, or Change - Tony nominee, Radio Golf)
9.  Kathleen Turner (The Graduate, Who's Afraid of Virginia Woolf? - Tony nominee)

10.  Barbara Walsh (Company, Hairspray)

One Hit Wonders...Please Come Back to Broadway!

Sara Ramirez

1.  Marissa Jaret Winokur (Hairspray - Tony Award)
2.  Sara Ramirez (A Class Act, Spamalot - Tony Award)
3.  Stephanie D'Abruzzo (Avenue Q - Tony nominee, Theatre World Award)
4.  Ashley Brown (Beauty and the Beast, Mary Poppins)

One Decade Wonders... They Did All This in 10 Short Years!!??

1.  Sutton Foster (Thoroughly Modern Millie - Tony Award, Little Women - Tony nominee, The Drowsy Chaperone - Tony nominee, Young Frankenstein, Shrek: The Musical - Tony nominee, Anything Goes)

2.  Laura Benanti (Swing! -Tony nominee, Into the Woods - Tony nominee, Nine, The Wedding Singer, Gypsy - Tony Award, In the Next Room...or the Vibrator Play)
3.  Kelli O'Hara (Follies, Sweet Smell of Success, Dracula: The Musical, The Light in the Piazza - Tony nominee, The Pajama Game - Tony nominee, South Pacific - Tony nominee)

4.  Kerry Butler (Beauty and the Beast, Hairspray - Tony nominee, Little Shop of Horrors, Xanadu - Tony nominee, Rock of Ages)
5.  Jennifer Gambatese (Hairspray, A Year with Frog and Toad, All Shook Up, Tarzan, Is He Dead?)

6.  Katie Finneran (Noises Off - Tony Award, Mauritius, Promises, Promises - Tony Award)
7.  Laura Bell Bundy (Hairspray, Wicked, Legally Blonde - Tony nominee)

8.  Stephanie J. Block (The Boy from Oz, Wicked, The Pirate Queen, 9 to 5: The Musical - Tony nominee)
9.  Jackie Hoffman (Hairspray - Theatre World Award, Xanadu, The Addams Family)
10.  Mary Testa (42nd Street - Tony nominee, Xanadu, Guys and Dolls)

And the Five Best Diva Performances of the Century by the Five Best Divas (so far...):

5.  Idina Menzel and Kristin Chenoweth in Wicked

4.  Victoria Clark in The Light in the Piazza

3.  Christine Ebersole in Grey Gardens

2.  Alice Ripley in next to normal

1.  Patti LuPone in Gypsy

Comments?  Leave one here or email me at jkstheatrescene@yahoo.com.
Jeff