Roles They Could Have Had

I've been reading a lot lately about prominent actors that audition for or were considered for parts in Broadway shows or movie musicals that either turned down or were denied the roles. I find this fascinating because I think we all feel that once you reach a certain point in your acting career, you can have any role you want. Well prepare to be surprised, because some of these names are big, I'm talking Patti LuPone and Meryl Streep big. Some of these casting situations are confirmed by the actors and some are just rumors, but nonetheless they are all juicy

• West Side Story (film)-Elvis was offered the role of Tony but his manager turned it down as "Elvis only does Elvis movies"
• Sunday in the Park with George-Patti LuPone auditioned to replace Bernadette Peters as Dot/Marie but was denied the role
• A Little Night Music(Broadway revival)-Patti LuPone reportedly contacted director Trevor Nunn about playing the role of Desiree but he never returned her call
• A Little Night Music(Broadway revival)-Broadway heavy hitters Sherie Rene Scott, Marin Mazzie, and Victoria Clark were considered for the role of Desiree but producers decided to go the way of "star casting" with Catherine Zeta Jones; Laura Benanti was also offered the role of Charlotte but turned it down to star in In the Next Room/The Vibrator Play
• Crazy For You-Karen Ziemba was up for the female lead but lost to Jodi Benson; Ziemba later toured with the show and was much more acclaimed in the role than Benson
• Wicked-Stephanie J Block played Elphaba in the first workshop but was later recast by Idina Menzel
• Thoroughly Modern Millie-Kristen Chenoweth was cast as the original Millie, but left to film her sitcom Kristin and was recast but Erin Dilly and ultimately Sutton Foster
• Little Shop of Horrors-Nathan Lane and Faith Prince were considered for the original Seymour and Audrey but neither got the part; ironically both were later cast together in the revival of Guys and Dolls
• Sunset Boulevard-Hollywood stars Meryl Streep, Faye Dunaway, and Barbra Streisand were considered for the role of Norma, which was ultimately played by Patti LuPone in London and Glenn Close in LA and New York
• Into the Woods-Patti LuPone reportedly auditioned to play the Witch, but it was given to Bernadette Peters
• Wicked-Sara Ramirez was considered for Elphaba before Idina Menzel was hired
• The Rocky Horror Show (revival)-Matthew Morrison was offered the role of Rocky but turned it down to be in a boy band; when the band failed he joined the production in the chorus
• Grease (movie)- Henry Winkler was offered the role of Danny but he turned it down because "it was too similar to the Fonz"
• Sunday in the Park with George- Kelsey Grammer played a soldier when the show debuted off-Broadway but left to play Frasier on Cheers
• Sweeney Todd (film)- Meryl Streep was offered Mrs. Lovett but turned it down to do the film version of Mama Mia
• Young Frankenstein- All 4 principle actors from Will & Grace auditioned, but only Megan Mullaly was cast, in the role of Elizabeth
• Wicked- Mandy Moore received an offer to replace Chenoweth as Glinda, but "didn't want to follow someone like Kristin"
• Hello Dolly- Ethel Merman was offered the role of Dolly Levi but turned it down and it went to Carol Channing; ironically Merman later played the role as the final  Broadway replacement and the last role of her career
• Passion- Patti LuPone was offered the role of Fosca but turned it down to do Sunset Boulevard in London
• Cabaret-Madonna seriously considered playing Sally in the revival but turned it down for "security reasons"; Anne Heche was rumored to headline the first national tour but the role ultimately went to Terri Hatcher
• Sweet Charity (revival)- Brittney Spears turned down the offer to replace Christina Applegate as Charity
• Moulin Rouge (film)- Renee Zellweger was on the short list for the Nicole Kidman role but ultimately lost out
• Chicago (film)- Kristin Chenoweth lost the role of Mary Sunshine to Christine Baranski and was also considered for Roxie; Catherine Zeta-Jones was cast and given the choice of Roxie or Velma
• Wicked- John Gallagher was considered for a role in the original production but told producers he "could never do musicals"
• Ragtime- LaChanze was almost cast as Sarah until the producers insisted in Audra McDonald
• The Light in the Piazza- Celia Keenan-Bolger was the original Clara out of town but producers thought she "read as too young" and promoted Kelli O'Hara to play Clara after originally playing Franca
• Evita (film)- It seems like everybody in New York and Hollywood was considered for this film role, from Patti LuPone to Michelle Pfeiffer but it ultimately went to Madonna
• American Idiot- Constantine Maroulis played the role of St. Jimmy in workshops until Tony Vincent joined the production

Broadway & Hollywood: Harmonious Marriage or Torrid Affair?

I have been waiting to discuss the Broadway community's internal conflict over the presence of Hollywood on the Great White Way until I had completely sorted out my own thoughts on the subject and I'm finally ready to comment. I saw the writing on the wall during this year's TONY awards ceremony when Scarlett Johansson, Denzel Washington, and Catherine Zeta-Jones, all film actors, won the TONY award in each of their respective categories. The backlash from certain Broadway "purists" was almost immediate with a facebook group aiming to "Give The TONYs Back To Broadway" which now has nearly 9,000 followers. It is important to note that the performers leading this charge against film actors are not Broadway headliners, other than TONY nominees Hunter Foster and Christopher Sieber, but primarily chorus members. This adds a new layer to the argument as their protest may simply be a cry for the fame that they have sought but never achieved. But that is neither here nor there.

The primary argument made by Foster, Sieber, and company is that the TONY awards should be a celebration of a year in the theatre and the greater Broadway community rather than a showcase for Hollywood celebrities and commercial musicians like Green Day. In fact, this year's opening number was themed "pop songs that you didn't know were from musicals," which was clearly an attempt to sell Broadway to mass audiences. As a performer myself and a believer in creating theatre for artistic, rather than commercial gain, I completely understand where these performers are coming from. However, I also realize that Broadway is a business and that it needs to take in enough revenue to sustain itself for future generations.

I'm sure we would all love to return to the Golden Age of Broadway where theatre actors were revered and musicals were star vehicles for leading ladies like Julie Andrews and Barbra Streisand and audiences would see shows simply because they loved the music, stories, and costumes. But something changed with American audiences, perhaps it was the growth of television, and the theatre began to lose its status.

The big budget musicals of the 1980s, notably Les Miserables and The Phantom of the Opera, found a new way to attract audiences to the theatre. The producers of these shows found that if audiences, particularly tourists, could be wowed by elaborate sets and special effects, they did not mind paying a higher ticket price. This age of Broadway saw not only a dramatic increase in ticket prices, but also a change in mindset as audiences wanted to see their money on stage in the form of sheer spectacle rather than performance and talent.

This brings us to the box office tactic known as "stunt casting". Casting B-list celebrities in long-running shows, such as Ashlee Simpson in Chicago, Mario Lopez in A Chorus Line, and Lance Bass in Hairspray are all examples of this practice employed by certain Broadway producers to boost tickets sales. While it is great for audiences to see their favorite stars onstage, these actors from film and television take jobs away from theatre performers who have work very hard to rise out of the chorus. The reasons for casting major stars in Broadway productions are similar to stunt casting in that their names and starpower draw large audiences. But now that I've explained the background information, it is time to get to my opinions.

First, I think it is important to look at the broad scope of things before passing judgement. For every Hollywood actor that was rewarded with a TONY this season, there were many theatre actors that were also rewarded. Yes, Scarlett Johansson won the Best Featured Actress in a Play category, but an up an coming theatre actor, Eddie Redmayne won the Best Featured Actor in a Play category. In the musical performance categories, 3 of the 4 winners, Katie Finneran, Levi Kreis, and Douglass Hodge are theatre actors through and through, with Catherine Zeta-Jones being the only Hollywood gal, and even she got her start in 42nd Street on London's West End.

I look at this issue as a give and take between the Broadway Babies and the visiting Hollywood starlets. Big stars guarantee ticket sales, giving directors and producers a financial cushion so they can take risks with their productions. For example, outside of the hardcore Sondheim fans, this season's revival of A Little Night Music probably would not have had much of a fan base, if any at all, without Catherine Zeta-Jones leading the cast. But because a well known actress signed on with the show, this incredible piece of theatre was brought back to Broadway and a whole new generation of fans, not to mention it employed an entire cast of Broadway actors. Also, because Zeta-Jones' run in the show was such a box office success, the show can have a life even after she leaves. And best of all, Broadway fans will have the treat of seeing our very own Bernadette Peters and Elaine Stritch lead a show that may never have been revived at all without Miss Zeta-Jones.

It is my personal belief that live theatre must live on and it must continue to affect new generations of theatre-goers in anyway possible as long as the integrity of Broadway is preserved. I am still opposed to the "stunt casting" of shows with B-list celebrities, but I fully support the incorporation of trained and dedicated film actors, Denzel Washington among them, into Broadway productions if that is what it takes to get people into the theatres. I will even guess that most of the people who saw A View From The Bridge merely for Scarlett Johansson left with an appreciation for Arthur Miller, one of most beloved American playwrights in our history. I'm going to go out on a limb and say that almost all of those Scarlett fans are now Broadway fans that will continue to see theatrical productions for years to come, and that is just fine by me.

The Most Wonderful Time Of The Year...The TONYS

It has taken me a few days but I'm finally ready to give my overall impression of the 2010 TONY awards and comment on the accuracy of my predictions.

So for being a performer, not a techie, I did okay with my picks for the design awards. I predicted that American Idiot and Red would take the lighting and scenic design categories and I thought they were very deserving. My favorite moment of the creative arts awards was the speech by Christine Jones, scenic designer of American Idiot, where she declared her undying love for director Michael Mayer and the songwriting team Green Day. Red's sound designer wanting to wear his Tony on a chain as bling with a reference to Jay-Z was also a hilight. I do have major issue with the fact that CBS cannot include design awards in their regular broadcast. The technical artists deserve just as much respect as the actors and producers and their awards should be presented on the television.

This year's opening number was kitschy and it was certainly evident, from the pop song theme, that its goal was to draw viewership outside of the normal TONY-watching crowd. In my mind, nothing can compare to the 2009 opening number, but this year's production was good in its own right. Having host Sean Hayes show off his piano playing skills was a great choice and framing the number with Chad Kimball as host was quite clever. The signature Kristin Chenoweth performance of I Say A Little Prayer was obviously a hilight and Sherie Renee Scott and the Mennonettes' trio Up The Ladder To The Roof was simply fabulous. The Memphis, Fela, and Million Dollar Quartet sections were simply forgettable. John Gallagher Jr singing Boulevard of Broken Dreams with the cast of American Idiot was energetic and almost touching until Green Day came onstage and made it a complete cliche.

Scarlett Johansson's win for Best Featured Actress in a Play for A View From The Bridge was certainly a surprise but it was well deserved and she gave a very gracious and eloquent speech. Eddie Redmayne was simply perfection in his speech for Best Featured Actor in a Play for Red as he spoke of the value of the performing arts in all of our lives and acknowledged his great mentor and co-star Alfred Molina.

Normally TONY performances make me anxious to see the new musicals, but the performances from Million Dollar Quartet, Fela, and Memphis were not the least bit enticing. Actually, I was much more intrigued by the package introducing the best play nominees. And for me to be more interested in a play than a musical really speaks to just how bad the quality of musicals was this year.

Katie Finneran is my new idol and she absolutely deserved the TONY for Best Featured Actress in a Musical for Promises, Promises. Her speech was so inspiring and I felt honored that she chose to give advice to aspiring actors, telling us to follow our dreams and ignore everybody who tells us otherwise. Yes it sounds cheesy, but Katie was so sincere, and funny too as she thanked Kristin Chenoweth for lending her eyelashes for the evening. I basically expected Levi Kreis to win Best Featured Actor in a Musical for Million Dollar Quartet but I was really hoping for Bobby Steggert from Ragtime. Levi seemed unexcited about his win and was boring in his speech......next subject.

Christianne Noll's rendition of Back to Before from Ragtime was stunning and I only wished this show had lasted longer rather than the rest of the trash from this season that is currently running. On the opposite end of the female solo performance spectrum was Catherine Zeta-Jones with her performance of Send In The Clowns. I wanted so much to love the performance but she overacted it to the point that it became difficult to watch (and listen to). Her musical phrasing was a disaster and she held certain notes forever while barely giving value to others. Her head movements were distracting and she looked like she was seizing...enough on that trainwreck.

Viola Davis and Denzel Washington won the leading categories for Fences and while Davis seemed genuinely moved and thrilled, Washington looked like he would have rather been anywhere else and even forgot the name of The American Theatre Wing. Fences' win for Best Revival of a Play was no surprise and based on its sales, it seems that audiences adore it.

American Idiot's performance was much stronger without Green Day and I really want to see this show. I also forgot to mention the La Cage Aux Folles performance which I found energetic and entertaining. The audience interaction was priceless and this is another show I will be seeing in the near future.

Bill T Jones was totally deserving of the choreography award for Fela and I was happy to see anybody but Twyla Tharp win. Her work was so great in her earlier shows but it is really all starting to look the same and she seems to have lost her innovative spirit.

Don't get me wrong, I love Glee, but in my opinion a television show has no place on theatre's big night. Matt Morrison did give a stellar performance though, in All I Need Is The Girl, and I desperately want him to come back to Broadway. Lea Michele and Don't Rain On My Parade...those two things have become synonymous right? I wasn't sure if Lea was trying to audition for the upcoming Funny Girl revival with this performance or what because she looked like she was about to either kill twelve people with her daggers for eyes of if her head was actually going to explode. When you start out at a 10, there is nowhere to rise to in the climax of the song without looking like you are about to spiral out of control.

Oh, I've forgotten to mention some of Sean Hayes' funnier moments as host, from the major liplock with Kristin Chenoweth and his Bernadette Peters/Annie wig to his Billy Elliot tights and Spiderman costume. He really was fabulously entertaining and his great showing as host made up for his loss in his category.

Red wins Best Play! No explanation needed.

The funniest moment of the entire show for me was the presentation of Best Leading Actor/Actress in a Musical by Bebe Neuwirth and Nathan Lane. The irony of the situation was uncanny as the pair, two of the theatre's brightest stars were not nominated. But they were great sports and it was a very memorable TONY moment. Maybe this will be the 2010 addition to my decade of favorite TONY memories? There were no surprises in these categories as Douglass Hodge won for La Cage Aux Folles and Catherine Zeta-Jones for A Little Night Music. Hodge is a class act and was charming in his speech. Zeta-Jones seemed absolutely floored when her name was announced, almost to the point where it seemed rehearsed. Thank god the awards are not based on TONY night performances or she wouldn't have had a chance, but I believe her performance in her show did indeed merit a win.

La Cage Aux Folles wins Best Revival of a Musical--we all expected it, and it probably deserved it as well.

Normally TONY night ends with a bang as Best Musical is announced. The category started off well with Bernadette Peters presenting, but the excitement soon fizzled as Memphis was announced. I can't say I was surprised but I would have loved to have seen a more innovative show take the night's top prize and would've been much happier with Fela or American Idiot.

As for the accuracy of my picks, I was correctly chose Redmayne, Davis, Finneran, Hodge, and Zeta-Jones in the performance categories, Grandage for direction of a play, and Bill T Jones for choreography. In the pre-broadcast, I had both of the lighting and scenic design categories correctly pegged, along with costume design of a play. And most importantly I was 4/4 in the big categories as Fences, Red, La Cage Aux Folles, and Memphis were all on my list.

In a word, the 2010 TONY awards were predictable. I love seeing a few great upsets and there really were none this year. Overall, it was a mediocre awards ceremony for a mediocre Broadway season with a few blips of pizazz from the Chenoweth/Hayes and Neuwirth/Lane sideshows.

My 2010 TONY Predictions: Performances

Best Leading Actor in a Play: Jude Law, Hamlet, Denzel Washington, Fences, Liev Schreiber, A View From The Bridge, Alfred Molina, Red, Christopher Walken, A Behanding in Spokane

My Pick: Liev Schreiber-- I believe I am going out on a limb here as Washington and Molina seem to be the front-runners, but my gut is telling me that Schreiber is gaining on them and will pull ahead in the race by TONY time.

Best Leading Actress in a Play: Viola Davis, Fences, Jan Maxwell, The Royal Family, Valerie Harper, Looped, Laura Linney, Time Stands Still, Linda Lavin, Collected Stories

My Pick: Viola Davis-- since I am snubbing Denzel, it is only fair to reward the other have of Fences' dynamic leading couple. Davis' performance is utterly heart-wrenching and because hers is one of the few plays still running, her interpretation lives in recent memory.

Best Leading Actor in a Musical: Sean Hayes, Promises, Promises, Chad Kimball, Memphis, Kelsey Grammer, La Cage aux Folles, Douglas Hodge, La Cage aux Folles, Sahr Ngaujah, Fela

My Pick: Douglas Hodge-- this is another one of those categories that seems almost set in stone. Hodge is simply a revelation on stage, but to the credit of the other nominees, no other actor this season has been given the material to thrive on that Hodge has received in the character of Albin.

Best Leading Actress in a Musical: Kate Baldwin, Finian's Rainbow, Montego Glover, Memphis, Christiane Noll, Ragtime, Sherie Renee Scott, Everyday Rapture, Catherine Zeta-Jones, A Little Night Music

My Pick: Kristin Chenoweth--oh wait--she was the best singer of the season, not the best actress, so my close second will be Catherine Zeta-Jones-- though not a singer by trade, this impeccably trained actress is the star of the season and rightfully deserves recognition for her interpretation of Desiree.

Best Featured Actor in a Play: David Alan Grier, Race, Stephen McKinley Henderson, Fences, Jon Michael Hill, Superior Donuts, Stephen Kunken, Enron, Eddie Redmayne, Red

My Pick: Eddie Redmayne-- I'm really feeling the love for this play! Redmayne is particularly notable in this production because he had the task of playing a character that was the amalgamation of many different men. While Alfred Molina could develop his performance in the play based on Rothko, a person who actually exists, Redmayne created a truly original character based on a compilations of Rothko's various assistants.

Best Featured Actress in a Play: Maria Dizzia, In The Next Room/The Vibrator Play, Rosemary Harris, The Royal Family, Jessica Hecht, A View From The Bridge, Scarlett Johansson, A View From The Bridge, Jan Maxwell, Lend Me A Tenor

My Pick: Jan Maxwell-- the woman was nominated twice this season, she has to win one of them, and this is arguably her stronger performance which should be good enough to topple the other talented women in the category.

Best Featured Actor in a Musical: Kevin Chamberlin, The Adams Family, Robin De Jesus, La Cage aux Folles, Christopher Fitzgerald, Finian's Rainbow, Levi Kreis, Million Dollar Quartet, Bobby Steggert, Ragtime

My Pick: Bobby Steggert-- I'm going to take a huge leap of faith and hope that the impeccable, tour de force performance by Steggert in the long-gone revival of Ragtime will be remembered by the voters. It seems that Levi Kreis is the name on everybody's lips these days but if the award is truly for 'best performance,' Steggert is my choice.

Best Featured Actress in a Musical: Barbara Cook, Sondheim on Sondheim, Katie Finneran, Promises, Promises, Angela Lansbury, A Little Night Music, Karine Plantadit, Come Fly Away, Lillias White, Fela

My Pick: Katie Finneran, Katie Finneran, Katie Finneran-- there are many words to describe Katie Finneran's performance in Promises, Promises. Among them, firecracker, dynamite, and dare I say it, the highlight of the entire Broadway season. Her ten minutes on stage give the audience the experience of being shot out of a cannon in a whirl of hilarity. I knew her performance was something special when it caught the attention of my dad-- because lets just say my love of the theatre does not come from that side of the family. If I were a betting woman, I would say that Finneran's win in this category is the surest of sure things in this entire awards presentation.