2012 TONY Award Nominations: Predictions

Last year I was pretty darn close on my predictions so let's see how I do here. Kristin Chenoweth and Jim Parsons announce the nominees tomorrow (5/1) at 8:30 am.

Best Play:
1) Clybourne Park
2) Other Desert Cities
3) Peter and the Starcatcher
4) Stick Fly


Best Musical:
1) Bonnie & Clyde 
2) Leap of Faith
3) Newsies
4) Nice Work If You Can Get It


Best Revival of a Play:
1) Arthur Miller's Death of a Salesman
2) Private Lives
3) A Streetcar Named Desire
4) Wit


Best Revival of a Musical:
1) Evita
2) Follies
3) The Gershwins' Porgy and Bess
4) Jesus Christ Superstar 


Best Performance by a Leading Actor in a Play:
1) Hugh Dancy, Venus in Fur
2) Phillip Seymour Hoffman, Death of a Salesman
3) Frank Langella, Man and Boy
4) John Lithgow, The Columnist
5) Blair Underwood, A Streetcar Named Desire


Best Performance by a Leading Actress in a Play:
1) Nina Arianda, Venus in Fur
2) Tracie Bennett, End of the Rainbow
3) Tyne Daly, Master Class
4) Linda Lavin, The Lyons
5) Cynthia Nixon, Wit


Best Performance by a Leading Actor in a Musical:
1) Matthew Broderick, Nice Work If You Can Get It
2) Danny Burstein, Follies
3) Raul Esparza, Leap of Faith
4) Norm Lewis, Porgy and Bess
5) Ron Raines, Follies


Best Performance by a Leading Actress in a Musical:
1) Jan Maxwell, Follies
2) Audra McDonald, Porgy and Bess
3) Kelli O'Hara, Nice Work If You Can Get It
4) Bernadette Peters, Follies
5) Elena Roger, Evita

2011 Kennedy Center Honorees

The list of 2011 Kennedy Center Honorees was announced this morning. This year's class includes Barbara Cook (Theatre Actress/Cabaret Singer),  Meryl Streep (Actress), Neil Diamond (Singer/Songwriter), Yo-Yo Ma (Cellist), and Sonny Rollins (Saxophonist/Composer). The ceremony will take place Sunday December 4th. I love to anticipate who will perform for the honorees and because I'm a big Barbara Cook fan and I know who the Kennedy Center typically asks to perform for these things, I think I pretty much have it figured out. Kristin Chenoweth will likely sing "Glitter and Be Gay," a song made famous by Cook in the role of Cunegonde in the original Broadway production of Candide. If we get another song from Candide it will be the finale "Make Our Garden Grow" as a duet between the likes of Patrick Wilson and Audra McDonald. Perhaps her most famous role, Cook also originated, and won the 1957 Tony award for playing Marian Paroo in The Music Man. We'll certainly hear a medley of those famous Meredith Willson songs so expect performances from Broadway's leading sopranos such as Kelli O'Hara, Laura Benanti, or more plausibly Rebecca Luker who played Marian in the 2000 revival. We could also get a plug for Arena Stage's upcoming production of the show with a performance by their leading lady, and Tony nominee, Kate Baldwin. Cook is considered one of the finest interpreters of Stephen Sondheim's music and her signature song is "In Buddy's Eyes" from the musical Follies which just happens to be playing on Broadway now. In the show, the song is performed by Sally, currently played by fellow Sondheim Diva Bernadette Peters......so you do the math.

As for the other honorees, well I haven't gotten that far, but check back as I'll certainly make more predictions as the ceremony draws closer! 

So You Think You Can Dance: The Top 16 Perform!

Here we are again, its Wednesday at 8 and that could only mean one thing....this is So You Think You Can Dance. Tonight the top 16 perform and Kristin Chenoweth (my favorite) is guest judging.

9:56 Well that was it for me. I'm going to do some thinking and post my recap and my predictions tomorrow. Until then, happy dancing!
9:54 I expected this to be a crazy aggressive song but I think the softness actually suits it well. Maida Withers would say that it is was way too symmetrical
9:53 Battle of the Sexes, part....how many? PS this is a very cool piece, Dee's stock just went up in my mind!
9:52 First I thought this piece was about snap cups; Dee why couldn't you have done this for a duet instead of that damn piano man piece
9:50 I wanted to give a special shout-out to my follower from the UK who has hit my blog so many times tonight! Come back again and see us soon!
9:47 I feel like Kristin is putting on a little bit of a "tv personality" tonight....I don't think she is being completely "real Kristin"
9:45 Sometimes when a choreographer comes up with a "concept" it can be dangerous...just ask Baayork Lee
9:44 They are really killing this routine; I like the play on "jumping on the bed" because we all did that when we were kids
9:43 The movement is actually pretty good, and the changes of clothes are a really cool idea
9:42 Okay so we are doing a hip-hop version of "the morning after?" hmmmm.....its inventive I'll give you that
9:35 Thank the lord they kept those 2 last week, they have so much growing to do and tonight was a huge step in the right direction
9:34 Lil C is clearly president of the Sonya fan club
9:33 Is Ryan not wearing any makeup? She needs a little something more on the face
9:32 I like how understated this piece was, not a lot of tricks, just some nice quiet dancing
9:31 This piece is very quiet, I get the message they are communicating and it is great to see Ryan expressing something other than a smile
9:31 Sonya has used that same 2-rotation lift in both pieces tonight, just in different body positions
9:30 It brings an interesting angle that the two have never been in love before but they're creating a piece about losing else they've loved in their lives
9:29 Ryan was like me....her mom put her into dance to bring her out of her shell
9:28 Ryan & Ricky are like my goofy favorites; I feel like they are the slow ones of the bunch and always out to lunch but I want to be their best friends
9:24 Sinatra can make anyone look good
9:22 The Foxtrot was Kristin's favorite dance of the night; she just labeled them Fred & Ginger
9:21 That was a spot on Foxtrot according to Mary, did she just call her "Clarence"
9:21 Jess is not the strongest partner and the lifts still look heavy and clunky; part of me thinks that it is his diva attitude not wanting to let her be the center of attention
9:20 Nice lines and nice fluidity. I love the little West Side Story side kick moment
9:19 This is so classic but Jess looks so short next to Clarice in heels, especially when he is lifting her
9:18 Going back to the Sonya piece....the reason I praised the competition was because I couldn't praise the choreography
9:14 By the way, if you hate what i'm saying or love what i'm saying, please feel free to let me know in the comments section below and we can get a dialogue going! Or tweet me @barbiebackstage
9:11 Kristin's comment was convoluted for me, she couldn't comment on it because she didn't understand the style? I'm confused
9:09 I'll agree with Nigel that the performance was 100% committed but I disagree that the music was a wrong choice because A) That is not under the dancers' control and B) this is the kind of material Sonya does so that's what you get when you commission a routine from her
9:08 Sonya is a master of composition. This duet is very well fomatted with side-by-side movement, individual movement, and partnering
9:07 In the side-by-side unison movement, Chris is slightly behind Ashley and isn't quite punching the movements as hard as she is. This music has really cool undertones. I like the whole use Ashley as a puppet thing
9:07 Sonya pieces must be so fun to perform once you finally get the choreography down pat
9:06 Is Ashley wearing a onezie?
9:05 Sonya is craxy as all get out and I just love it, she is truly original
9:00 And Krazy Aunt Kristin just laid a bit smooch on Lil C....like we didn't see that coming
8:59 Thank god Kristin just hit a signature high note and gave us her signature phrase "we sing because we can't speak anymore, and dance is an extension of that"
8:58 Oh hell no Nigel just macked on Mary! Krazy Aunt Kristin doesn't know what just happened
8:57 Nigel just labeled Melanie & Marko "the couple to beat" #duh
8:56 Tabitha's doppleganger is most definitely Stacey London
8:55 It most definitely was "buck"  -Lil C
8:54 These two are on of those partnerships that only happens maybe once in a season and they are both such bright lights for dance!
8:53 These two have some amazing chemistry and that is so the key to making it far in the competiion
8:52 Lyrical hip-hop by Nappytabs...a piece about 2 friends...now that's a new concept. Basically "Man of Honor"
8:51 Melanie & Marko were both little divas when they started dancing
8:44 Nigel gives us a shout out to Vincent Minelli #work
8:44 Lil C: "Miranda, with legs like that, who needs arms?"
8:42 So here is my thing Tyce, why choose music with built in tap sounds and not have them tap? And do ladies of the night always do aerials?
8:41 Oh yay we love Sophisticated Ladies! Right off the bat,  Miranda is not committing enough to the character. Robert is lighting ig up in his role but Miranda looks like she is out to lunch
8:40 Hello there Tyce: so Miranda is playing a hooker and Robert is a groovy cat
8:39 I think I had almost the exact costume that Miranda wore in her first show.
8:33 Nigel just called Mitchell "the Chris Rock of dance"....is that a compliment?
8:32 I love Aunt Kristin "you shut it down, you shut your legs, you opened your legs"
8:31 So Mary had a stroke? She forgot Caitlynn's name and is forgetting how to speak English
8:29 This routine is so clunky. The music isn't helping, but everything looks awkward and forced, nothing is smooth.
8:28 Caitlynn has nice straight legs and pointed feet in that opening helicopter lift; is it just me or is this piece moving really slowly? So Caitlynn is whipping her hair and her skirt a lot while Mitchell is actually dancing. Is that the name of the game?
8:27 Caitlynn & Mitchell Samba with Jean-Marc; this best be hot
8:27 Holy crap Mitchell didn't start dancing until he was 16
8:26 I can relate to Caitlynn on the horrible costume front
8:24 To quote my friend @Kyle_Louise "where was the dancing there? if you blinked you missed it"
8:20 Lil C just called Sasha "8 notches above perfection"; so the judges loved Sasha and Alex was invisible? Did I hear that correctly?
8:19 Aunt Kristin always has the best stories: "I played a flower and a frog peed on me"
8:18 That piece was a collection of lovely images and photo opportunities, but choreography? Not so much...
8:15 I kind of love the opening image with Alex at the piano. Sasha is just so present in her own body. Wow he is throwing her all over that piano! I'm not cool with disrespecting my favorite instrument, but for the sake of art I'll allow it. That last image with her hands coming through the back of the piano was haunting!
8:14 I'm so happy to see Dee Caspary back, he's working with Sasha & Alex. Surprise, surprise, it is a love story, but it looks like a unique twist so we'll see.
8:12 And some more tacky introductions, but at least "the first performance" is poignant. Sasha was a frog in Thumbelina, aka wearing a green unitard. Alex did a tribute to The Lion King at his 6th birthday party.
8:07 Every time I want to "hit the road" I always do a back handspring series. Tyce the genius
8:06 The lighting is so dark that i can barely tell what is going on in the routine...but now that I can see the movement, it's not doing much for me
8:06 I so thought that this was going to be Cell Block Tango because Tyce is trite like that
8:05 Tyce is such a jerk-wad....if you want a better explanation just watch Every Little Step, a documentary about the revival of A Chorus Line
8:04 OMG Kristin & Lil C are going to be best friends...its so going to happen...watch out twitter!
8:03 Get it Kristin Chenoweth! That's my girl right there....my idol...the person I aspire to become!
8:02 Our dancers are doing their intro dances as couples tonight instead of solos, very sassafrass
8:01 It's going to feel weird going from 10 routines to 8
8:00 Cat Deeley is looking so glam tonight......very Roxie Hart!

2010: The Year I Saw All Of My Broadway Idols On Stage!

For me as a theatre-goer, 2010 was a year of firsts, my first time seeing my idols on stage that is.


My quest to see all of my musical theatre heroes started in May when I saw Kristin Chenoweth in Promises, Promises. We had these tickets particularly far in advance but Kristin gave us a little scare the week we were set to see the show, announcing on twitter that she was sick and would be missing shows. Luckily, she was well enough to perform the night we had tickets and seeing her live was unreal such a special experience for me. I've loved Kristin since before I can remember but I just happened to miss her in Wicked and The Apple Tree but was so grateful to have caught her in Promises, Promises. 

Read my review of Promises Promises here: http://backstagebarbie.blogspot.com/2010/06/promises-promises.html

Barbara Cook is a performer that I have come to admire more recently than some of the others. I started listening to Barbara after Kristin Chenoweth mentioned in an interview that she was "her idol." After purchasing one of her  albums, I understood why. As a fellow soprano, I related to Barbara and her recording of "Glitter and Be Gay" was my savior when I was learning this complicated aria. While Sondheim on Sondheim had its flaws, it was the perfect vehicle to showcase Cook because while her coloratura notes are gone, she is still the master of interpreting a lyric, and that is exactly the kind of singer that Sondheim requires.


Read my review of Sondheim on Sondheim here: http://backstagebarbie.blogspot.com/2010/06/roundabout-theatre-companys-sondheim-on.html

I've said this many times, but prior to seeing Everyday Rapture, I was not a fan of Sherie Rene Scott. I went to the show because a good friend of mine was a big fan and needless to say I was blown away by Sherie. Yes she has talent, but many people have talent. What really struck me about her was her commitment to the show and her performance energy. Having seen her later in the year in Women on the Verge of a Nervous Breakdown, where she clearly was not as committed to the piece, I realized just how important it is that an actor is invested in the work and how much of a difference that makes to an audience.

Read my review of Everyday Rapture here: http://backstagebarbie.blogspot.com/2010/07/what-would-judy-do.html

When I heard that Bernadette Peters may be replacing Catherine Zeta-Jones in A Little Night Music, I held off seeing the show and I am so glad I waited. Bernadette was a revelation in the role of Desiree and I have never been so captivated by a performer. I idolize Bernadette in a big way, but oddly enough, I was only star struck for a moment. After the initial exhilaration wore off, she was no longer Bernadette Peters, but rather she became the character of Desiree Armfeldt. Her Send in the Clowns was phenomenal, but I remember it more as a scene than as a song. And in my opinion, forsaking the vocals for the character is the mark of a true actress. For the price of that one theatre ticket, I saw a remarkable performance and took an acting class from a legend. How often can you say that?

Read my review of A Little Night Music here: http://backstagebarbie.blogspot.com/2010/09/barbie-award-for-acting-song-miss.html

I will probably never forgive myself for missing Kelli O'Hara in South Pacific (I saw Laura Osnes as Nellie) but I was fortunate enough to see her in concert at the Kennedy Center this season. I'm actually glad that my experience with Kelli was in concert because her voice is simply divine and you get to hear more songs in a concert than in a musical. Because I am a soprano, most of my repertoire is from the Golden Age of Broadway and Kelli happened to perform songs mostly from that genre so it was like a master class for me in that respect. I  thoroughly enjoyed her musical selections and I felt that I got to know her a little better through her banter between songs, and though she was cheesy at times, my goodness was she genuine. I think she truly is a cockeyed optimist.


Read my review of Kelli's concert here: http://backstagebarbie.blogspot.com/2010/10/kelli-ohara-in-concert-at-kennedy.html

The Broadway show I saw most recently was Women on the Verge of a Nervous Breakdown and it marked my first live experience with Patti LuPone. Though I wished I'd seen her in a better show where she was the star, like Gypsy, Patti has that rare ability to turn any role into a star performance. I recall the hilights of the show being Patti with a gun, Patti on a motorcycle, and Patti hanging from the proscenium. What I love most about Patti is her respect for the theatre and her commitment to preserving it as a high art form. Her respect for the theatre translates into her performance and from this show and from Patti, I learned that the actor's job is to commit to the character and deliver an engaging performance, regardless of how good or bad the show is.

Read my review of Women on the Verge here: http://backstagebarbie.blogspot.com/2010/11/women-on-verge-of-nervous-breakdown.html

This was just a brief overview of my experiences with my Broadway idols in 2010. Check back throughout the week for posts dedicated to each of these divas and what it is exactly that I love about them!

Kristin Chenoweth, Matthew Morrison, Lea Michele Will Pay Tribute to Barbra Streisand at MusiCares Gala - Playbill.com

 Glee stars Kristin Chenoweth, Matthew Morrison, Lea Michele, and Darren Criss will pay tribute to Barbra Streisand, MusiCares' Person of the Year. The February 11, 2011 gala will take place at the Los Angeles Convention Center. Other performers include Tony Bennett, Donna Summer, Stevie Wonder, Herbie Hancock, Diana Krall. and Barry Manilow. The evening will conclude with a performance by Streisand herself.

Kristin Chenoweth, Matthew Morrison, Lea Michele Will Pay Tribute to Barbra Streisand at MusiCares Gala - Playbill.com

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

My Most Memorable Theatre Experiences: #5 Everyday Rapture

I must admit that there were two reasons that I bought tickets to see Everyday Raputre. 1) My good friend is a huge fan of Sherie Rene Scott and wanted somebody to see the show with her. 2) I am a Roundabout Theatre Club Hiptix member so I got really cheap tickets. I had heard about this Sherie Rene Scott person before and while I thought her voice was good, I assumed she was just your generic Broadway belter. Also, I though it was highly narcissistic to co-write and star in your own show and actually have it come to Broadway. Nevertheless, I went to the show, expecting to hear a lot of vocal tricks and riffing and see a lot of camp.

Now we reach the point where I eat my words. My expectations were shattered within the first five minutes and I was completely enraptured, no pun intended, by this tour de force of a performer. I've written  several posts about this show already, including a formal review, so I'll post links to them. 

http://backstagebarbie.blogspot.com/2010/07/what-would-judy-do.html

I'll try not to repeat what I wrote in earlier posts, and now that its been a good four months since I saw the show, I would like to talk about my fond memories. This was a big theatre season for me as I got the chance to see my three Broadway idols, Bernadette Peters, Barbara Cook, and Kristin Chenoweth, onstage in the same summer. But as much as I adored seeing these ladies onstage, none of them gripped me quite the way that Sherie did. Patti LuPone once said that performers are most exciting when they toe the line between in control and out of control, which is the perfect way to describe Sherie in this show. She speaks directly to the audience at the top of the show, telling us she is playing a character also named Sherie Rene Scott who is 50% real and 50% imaginary. This is one of the few musicals I've seen where the book rises to match the music and two elements work seamlessly together to make a cohesive show. Being a one-act, the show moves forward and the momentum is never broken, allowing it reach a climax and eventually a point of catharsis for the audience. The supporting cast is used sparingly, making it the closest thing to a one-woman show since Liza worked the Palace two years ago. Being a singer myself, I have a great deal of respect for good belting and Sherie is a perfect example. It just happens so naturally from good breath control and projection, as opposed to those other belters (I'm not naming names) who sound like their faces are going to fall off when they go for a high F.

I could go on and on about her vocal technique and her acting skills, but what really struck me about Sherie Rene Scott, and the thing I remember most from Everyday Rapture, is how warm and giving she was. I've been to many performances where the actors phone it in, but Sherie's passion and love for the show just radiated throughout the theatre as she put every drop of herself into the performance. I went on such a journey with this character that I felt like I'd experienced a lifetime of her emotions all in an hour and a half. This show actually changed how I feel about theatre and elevated my standards of what makes a perfect musical. I made a big bold statement that Everyday Rapture was the only perfect new musical since Sunday in the Park with George. Check out my reasoning here:

http://backstagebarbie.blogspot.com/2010/09/barbies-big-bold-statement-of-day.html

Oh yeah, and did I cry? There was no eleven o'clock emotional ballad that instructed me to cry, but nevertheless the waterworks happened anyway, and it was during the final number, Up The Ladder To The Roof, an uptempo to be exact. And did I mention that song is also my ring tone? And every time my phone rings, its an Everyday memory of the Rapture.

Barbie's Showtune of the Day #14: For Good

Ask me today what my favorite Broadway show is and I'll tell you one thing, and if you ask me tomorrow I'll probably give you a different answer. My taste in musical theatre is constantly changing and evolving, but the show that will probably always remain closest to my heart is Wicked. I have seen Wicked more times than any other show and each time I see the show or hear the music, I respond to a different aspect of the friendship between Elphaba and Glinda. The song For Good is near and dear to my heart and each time I hear it, it brings back some very specific memories. First of all, the first time I saw Wicked I had no idea what to expect, but what I took away from the show was this song and what it said about the people who come into our lives for a reason. Another memory is from my senior year of high school, in my last dance recital, where I danced a duet to For Good with my dance teacher who has always been, and still is, one of the closest people to me in my life. Finally, two years ago, I got the chance to play Glinda, my number one Broadway dream role, in a cabaret production where I sang For Good with one of my close friends.

What I love about this video is that it shows the progression of a song and the performance of that song from the rehearsal process to the show. I love the quote from Winnie Holzman, the book writer of Wicked about how the musical's script must rise to service the music. And what I love the most is watching Idina Menzel and Kristin Chenoweth interact with one another in rehearsal as they discover their characters and their relationship with one another.

My Most Memorable Theatre Experiences: #8 Wicked

Those who know me well know that  my love for Wicked runs deep and may be surprised that it is not higher on my list of memorable theatre experiences. I think the reason is that I have seen it so many times, it must be 7 or 8 now, so the impact of my initial experience began to fade with each repeat visit. Because of this, I am a strong proponent of only seeing a show once if it has a strong effect on you the first time you see it. I saw Wicked for the first time in 2004 on Broadway. Most of the original cast had left by that time, including my idol Kristin Chenoweth, but Idina Menzel was still playing the role of Elphaba. I didn't know a lot about Wicked the first time I saw it, in fact I didn't know much about Broadway at all. While I had seen a lot of shows on their national tours as a youngster, Wicked was my first true Broadway show. I have a hard time deciphering what I remember from my first time seeing Wicked and what has been filled in by my repeat visits, but I do remember that the song For Good made a very profound impression on me. This representation of a friendship between two women was something that I had never seen in a musical before and it struck me as somewhat groundbreaking. I had the slightest inkling that this message of friendship would touch other people as it had me and that Wicked just might be the next big smash hit on Broadway. Well I think thousands of theatre-goers would agree with me and Wicked has become Broadway's juggernaut, running for 7 straight years to sold out houses at Broadway's Gershwin Theatre as well as several national touring companies, sit down productions in Chicago, Los Angeles, and San Francisco, and several international productions.

I think Idina Menzel said it best in her accetance speech for the 2004 TONY award for Best Performance by a Leading Actress in a Musical for Elphaba when she exclaimed "I'm so proud to be in a show that celebrates women and our strengths and differences." I guess this aspect of the show is what has drawn me back to Wicked at least once a year since 2004. The universal message of friendship and accepting our differences speaks to the heart of every person. There are times in our lives when we relate more to Glinda and there are times when relate more with Elphaba, but nevertheless, we've all had close friendships that have grown from our differences and this show reminds us of how important those relationships truly are. Sure, we've all had our favorite Elphabas and Glindas and while many are still partial to the original cast, I actually prefer Stephanie J Block in the role of Elphaba and have grown to love Annaleigh Ashford's Glinda. But with every cast change on Broadway and around the world, the names of the actresses playing the lead characters become less important and the show itself has emerged as the true star.

Winner...or Loser...of the Weekly Poll: Million Dollar Quartet

You voted and the results are in...50% of you think that Million Dollar Quartet will be the next musical of the 2009-2010 season to announce its closing date. American Idiot followed with 20% and Best Revival Tony winner La Cage Aux Folles and Best Musical Tony winner Memphis each received 10%. Only 10% of you voted for Promises, Promises or A Little Night Music so here's hoping they stick around for a long time. Here is what I find interesting...the two shows that received the least votes have arguably the biggest stars in them in terms of legitimate Broadway talent with Kristin Chenoweth in Promises, Promises and Bernadette Peters and Elaine Stritch in A Little Night Music. Considering that the box offices for these shows have also been doing well, I think this proves that Broadway stars can still hold their own against Hollywood stars on the Great White Way.

I know this was a rather  unpleasant poll as we all hate to see shows close, but it is an inevitable part of the business of show.

Stay tuned for the next poll of the weekly, which will be a much happier topic.

Promises Promises Welcomes a New Marge MacDougal

Funny Lady Molly Shannon will follow Katie Finneran in the role of Marge MacDougal in the Broadway revival of Promises, Promises. Finneran announced recently that she will be leaving the show in October to have a baby. Shannon will step into Marge's owl feathers on October 12th and leave on December 26th with current stars Kristin Chenoweth and Sean Hayes. This casting change will be a reunion of sorts for Shannon and Hayes as she guest starred on several episodes of the hit comedy Will & Grace.

Ode to a Broadway Star: Kristin Chenoweth

Okay so lets be realistic, when I added this weekly post, we all knew it would only be a matter of time before Kristin Chenoweth appeared. So now without further ado, my favorite performances by my favorite Broadway gal.

Kristin's Tony winning performance as Sally Brown in the revival of You're A Good Man Charlie Brown



In my opinion, the song "Thank Goodness" is Glinda's standout moment in Wicked as it reveals the most character development and is the most vocally and emotionally demanding song in the show

*thank you to Broadway.com for the above clip 

From personal experience, I know that "Glitter and Be Gay" from Candide is one of the most difficult songs for a singer in all of musical theatre; Kristin knocks this song out of the park and it really shows off her vocal virtuosity and impeccable comedic timing at their finest

Fun Fact of the Day: Stage-dooring

While stage-dooring may be a common practice for many avid theatregoers, to others, it is a foreign concept.

stage-dooring: visiting the stage door of a theatre after the show in hopes of meeting the performers

My first stage door experience in New York was at RENT and I was absolutely thrilled to meet the actors, take photos with them, and have my playbill signed. I almost always visit the stage-door these days and I have accumulated quite a collection of signed playbills and posters. Stage-dooring is most common at shows that are popular with the teenage crowd like Wicked or Spring Awakening and shows that feature celebrities on stage, such as the current revival of Promises, Promises. Most actors are happy to sign playbills and other items from the show, although occasionally performers will leave without signing or even duck out an alternate exit. Some are even happy to take photos with fans. While I have waited in some long lines and fought a lot of crowds, I cherish my stage-door memories and have even gotten the chance to have genuine conversations with some of my Broadway idols from Stephanie J Block and Alice Ripley to the original Broadway revival cast of Hair.

**BackStage Barbie's stage-dooring tip: if you want to get a prime stage-door spot for celebrities like Kristin Chenoweth & Sean Hayes at Promises, Promises or Bebe Neuwirth & Nathan Lane at The Adams Family, make your way out of the theatre during the curtain call to avoid the post-show rush**

Fun Fact of the Day: Sorority Sisters on Broadway!

Not only did Broadway sopranos Kristin Chenoweth and Kelli O'Hara both study voice under Florence Birdwell at Oklahoma City University, but they are also sorority sisters! Both are alumae of the Beta Omicron chapter of Gamma Phi Beta. Kristin graduated in the class of 1990 and Kelli in1998. Gamma Phi Beta is one of the seven founding chapters of the National Panhellenic conference along with Alpha Phi, Delta Delta Delta, Delta Gamma, Kappa Alpha Theta, Kappa Kappa Gamma, and Pi Beta Phi.

My Fave Five Broadway Sopranos

Kelli O'Hara

This southern gal is a product of the same teacher, Florence Birdwell of Oklahoma City University, that produced Kristin Chenoweth. She is best known for her Tony nominated roles: Clara in The Light In The Pizza, Babe in The Pajama Game, and Nellie in South Pacific. Her earlier Broadway work shows off her light, sweet, airy sound, but her later work and her solo album, Wonder in the World, demonstrate that there is more to this girl than blonde hair and high notes. There is genuine soul behind that glorious voice. Because her voice and her look are so classical, she seems more inclined to revivals and I think that if My Fair Lady is ever revived on Broadway, the role of Eliza Doolittle just may be her ticket to finally winning that TONY. Listen to the title track of The Light in the Piazza for a taste of Kelli's impeccable control and sweeping vibrato. 

Audra McDonald

Television fans will know her as Dr. Naomi Bennet on ABC's Private Pactice, but theatre fans know she is a Broadway Baby at heart. She is a classically trained soprano from Julliard. Many know her as a belter, which is not untrue, but her power in her lower register actually comes from her soprano training.She performed an unthinkable feat, winning 3 TONY awards in 5 years as Carrie Pipperidge in Carousel(1994), Sharon in Master Class (1996), and Sarah in Ragtime (1998). She won a 4th TONY in 2004, portraying the role of Ruth Younger in A Raisin in the Sun. She shares the title of "4-time TONY winner" with legends like Gwen Verdon and Mary Martin. She continues to perform concerts worldwide, specializing in opera and classical song cycles. My personal favorite Audra recording is "Your Daddy's Son" from Ragtime.

Julie Andrews

Perhaps the most well known of these 5 sopranos, Julie Andrews captured the hearts of audiences world-wide on film as Mary in Mary Poppins and Maria in The Sound of Music. Her stage highlights include My Fair Lady, Camelot, and Victor/Victoria. Vocally, she is known for her crisp diction and perfect pitch. Unfortunately, in recent years, she has been limited to non-singing roles due to a botched throat surgery that rendered her singing voice unusable. But she has continued to perform in films and her speaking voice is just as fluid and mesmerizing as when she had the use of vibrato. And we will always remember her as the silvery-voiced soprano we fell in love with. The title track from The Sound of Music is a classic Julie Andrews piece that is not to be missed.

Kristin Chenoweth

Anybody who has ever met me knows that Kristin Chenoweth is my idol. I've loved her ever since I began to study voice and found that I too was a soprano. I thought that only belters could have Broadway careers until I began following Kristin's career and then I decided I wanted to be just like her. Her Broadway highlights are certainly her performances as Glinda in Wicked and her TONY winning turn as Sally in You're A Good Man Charlie Brown where she showed off her upper register and her belting capabilities that, like in Audra's case, stem from her classical training. As Cunegonde in Candide, she showed off her coloratura range in what every soprano considers the most demanding song written for the musical theatre, Glitter & Be Gay. She is currently showing a darker side to her performance in the revival of Promises, Promises and though it is great to hear her sing the classic Burt Bacharach tunes, I miss hearing those great high C's, otherwise known as the "cheno note". "The Girl in 14G," written specifically for Kristin by Jeanine Tesori and Dick Scanlan is a shining example of her abilities to shift from operatic arias to jazz riffs and belting all in one song.

Barbara Cook

And last but not least, the woman who has inspired every soprano in the musical theatre, the Queen herself, Barbara Cook. Her earliest roles were in the ingenue category, from her TONY winning portrayal of Marian in The Music Man to originating the role of Cunegonde in Bernstein's operetta Candide. After a hiatus from Broadway, Cook embarked upon a very successful cabaret and concert career. She has also become known as one of the greatest living interpreters of Stephen Sondheim's work and made a triumphant return to the Broadway stage this season in the musical Sondheim on Sondheim where she delivered sensational versions of In Buddy's Eyes, Not A Day Goes By, and Send In The Clowns. Although her voice has dropped a bit over the years and she no longer has her high E-flats, she will always be the singer that all other sopranos try to live up to. There is no song in the musical theatre that is more spectacular than Barbara Cook singing "Glitter & be Gay".

Fun Fact Of The Day: Happy Birthday Cheno!!

Today is a very special day on Broadway...it's Kristin Chenoweth's birthday! Kristin is currently staring in Promises, Promises on Broadway but is best known for her work in You're A Good Man Charlie Brown and Wicked. Happy Birthday Kristin! We are so glad you are born and broadway wouldn't be the same without you!!

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 Pre-TONY Post...I Promise

All I've been able to think about recently is the TONYs so I'm going to list My Favorite Things (no pun intended)from each show over past decade. **Disclaimer: my 'favorite things' will probably only relate to musicals**

1999, Greatest Dynamic Duo: Both of my theater idols, Kristin Chenoweth and Bernadette Peters win the TONY -- Kristin wins for Best Featured Actress in a Musical for You're A Good Man Charlie Brown and Bernadette for Best Leading Actress in a Musical for Annie Get Your Gun

2000, Revolution of The Decade: Contact wins Best Musical-- This win by a show that was primarily danced and include no original score was the controversy of the year, but it paved the way for what I like to call dance-icals like Movin' Out

2001, Most Predictable Ceremony Ever, The Producers Owns the TONYs-- I didn't enjoy this show, but I found it funny (funny ironic, not funny haha) that there was nothing else better in that season. Precursor of the 2010 season, anyone?

2002, Most Peggy Sawyer-like moment: Sutton Foster wins for Best Leading Actress in a Musical for Thoroughly Modern Millie-- Sutton Foster was pulled out of the show's chorus when the original Millie was forced to step down and the result was Broadway stardom

2003, Yay For Cross-dressers: Harvey Fierstein wins for Best Leading Actor in a Musical for his portrayal of a woman in Hairspray-- This is only the second time an actor has won in a cross-dressing role, Mary Martin won previously in the role of Peter Pan

2004, Best Winner's Speech: Idina Menzel -- When she won the Leading Actress in a musical category for Wicked, not only did she thank the show's creative team for creating a show that celebrates women, but she also thanked her mom for taking her to see Dreamgirls and Annie when she was a little girl

2005, The Classical Musical is Reborn: Adam Guettel's The Light in The Piazza takes Best Score and Orchestrations-- While it ultimately didn't take the night's biggest prize, Best Musical, Guettel showed us that classical melodies, lush orchestrations, and well-trained sopranos still have a place in the musical theater

2006, La-Upset: LaChanze beats the Diva Quartet of Patti LuPone, Chita Rivera, Sutton Foster, and Kelli O'Hara in the Best Leading Actress in a Musical category-- I adore all five women in this category, but LaChanze's performace as Celie in The Color Purple blew the roof off of the Broadway Theatre

2007, Best Themed Opening: God I Hope I Get It-- Introducing every nominated show and presenter with their head shot against background of Marvin Hamlisch's One from A Chorus Line was pure genius. We all remember watching the cast of A Chorus Line performing the opening of their show in front of Radio City Music Hall, seeing the cast of Spring Awakening getting ready in a stairwell and watching Raul Esparza in the role of Bobby from Company as he read a newspaper with his feet propped on a dressing table

2008, Most Divalicious Performances: Patti Lupone singing Everything's Coming Up Roses-- too amazing for words, simply fabulous

2009, Most Exhilarating Opening Number: Liza, Dolly, and Elton, oh my-- I practically fell out of my chair during this opening performance. When I thought it was simply too fabulous for words, it kept getting better and better. We started with Elton John and the Billy Elliot boys, then we went into a rumble between the casts of West Side Story and Guys and Dolls. Then Aaron Tveit and Stockard Channing battled it out in a mash up of I'm Alive and Bewitched, Bothered, and Bewildered. Then Brett Michaels performed with the cast of Rock of Ages and got smashed with a moving set piece while the Shrek cast let their freak flags fly. But the moment that left me breathless was Dolly Parton singing the title song with the cast of 9 to 5, followed by Liza Minelli kickin' it like it was 1975. It all ended with a big dance party with the cast of Hair singing Let The Sunshine In with every performer from the whole Broadway season.

TONY Nominee Swaps

So just for sheer fun, I decided I would toss a nominee out of a few categories and nominate somebody else who I really believe to be deserving. Oh yeah, and I'm a musical girl so don't expect much attention to be paid to plays in this completely hypothetical exchange of nominees.

Best Musical: Million Dollar Quartet is a waste of space. Did I mention I am sick of jukebox musicals?

My Swap: Sondheim on Sondheim-- it's a lovely night at the theater and includes some memorable performances of world-class music.

Best Revival of a Musical: Promises, Promises is great fun and I would love to see my girl Kristin Chenoweth's show nominated, but I can't bring myself to toss out any of these other fine revivals.

Best Leading Actor in a Musical: Chad Kimball is out of his league in this category.

My Swap: John Gallagher Jr. for American Idiot-- I know I said I was sick of jukebox musicals but I'm willing to make an exception in this case because Green Day allegedly wrote their album of the same name with the hopes that it would become a staged musical. Plus this boy owns the rock-musical performance style and excels here as he did in his TONY winning performance in Spring Awakening.

Best Leading Actress in a Musical: I'm sorry Montego Glover but I'm not feeling the Memphis love.

My Swap: Kristin Chenoweth for Promises, Promises-- anybody surprised about this decision? This category is filled with veterans and Kristin was clearly missing so I had to oust the newbie (sorry Montego, I hear you are fabulous though)! In my eyes, anytime Chenoweth opens her mouth it is TONY worthy so I stand firm with my choice.

Best Featured Actor in a Musical: I think we are all a little bitter about The Adams Family stinking up Broadway this season (I love your work Andrew Lippa, call me?) so Kevin Chamberlin will have to go.

My Swap: Cheyenne Jackson for Finian's Rainbow-- I know he would've been in the leading actor in a musical category, but this is hypothetical, so who cares?

Best Featured Actress in a Musical: I am a dancer so this is hard for me to say, but great dancing does not necessarily merit a nomination for an acting award, Karin Plantadit, though your talent is immense.

My Swap: Erin Mackey for Sondheim on Sondheim-- I know that was out of left field, far left in fact, but I was utterly blown away by her interpretation of the Sondheim music at her tender age.,

Promises, Promises

The 2010 revival of Promises, Promises promotes itself as a musical comedy, which is exactly what it is—a fun night at the theatre. Written by legendary playwright Neil Simon, it is no surprise that this reads more as a play with music than a musical. This certainly is not a negative thing, simply a credit to how strong the plot is. The Burt Bacharach & Hal David tunes, while they certainly do not show off vocal virtuosity, are American classics and widely recognized.

Sean Hayes makes his Broadway debut in the role of Chuck Baxter and it is about time. Hayes seems so comfortable on stage, making him perfect for this role where he breaks the fourth wall and frequently addresses the audience. He is so generous and personable that we feel that we know him by the end of the performance. His singing is less than spectacular, but we are willing to forgive that because he is so skilled as an actor. We sympathize with Chuck as he seeks to climb the corporate ladder and even get behind his less than moral strategy as he shares his bachelor pad with high-ranking executives for their extramarital affairs. We even pity Chuck when he cannot seem to get the attention of Fran, the office cafeteria hostess that he secretly loves. Always the good guy, Chuck eventually realizes that he would rather not have a job at all than work for a slimy, cheating boss and quits. The fact that he gets Fran in the end softens the blow.

Kristin Chenoweth plays the role of Fran Kubelik and the moment she steps on stage, she receives an incredible round of applause—her reputation precedes her. There is nobody that sings like Kristin Chenoweth and she knocks every number out of the park, even with the trachea infection she was experiencing during this specific show. She has fabulous acting chops too, but I just struggled to believe her in this role. My love for Kristin Chenoweth is very deep, she is my idol, we all know that. But there is just something to be said for the perfect marriage of a performer and a role and it simply did not happen in this case. She is so gifted and charismatic and it is truly a shame that she was not given a role worthy of her talent.

Katie Finneran in the role of Marge MacDougall is a firecracker, sending the show into the stratosphere for the two brief scenes that she is on stage. Finneran takes a huge risk in her portrayal of Marge as she tiptoes the fine line between unexpected hilarity and just plain over the top. She stays on the safe side because her character is so grounded and realistic. With her crazy antics, Marge seduces Chuck and is able to take his mind off of Fran. Finneran truly invests in this role and the audience believes everything that comes out of her mouth. From her dark red wig to her low, brassy voice, Marge looks nothing like Katie and this is truly a transformation.

I wanted terribly to fall in love with this production, I really did. After all it has all the right ingredients, praised source material, a sitcom actor, a phenomenal supporting cast, and not to mention my idol, but even with all of these assets, there is something missing. A running theme in all of my favorite musicals is a personal connection to a character or the story, but that simply did not happen for me in this show. I guess it was my assumption that with Chenoweth in the role, I would have an instant connection to Fran, when in actuality we have nothing in common. Even though nothing in the show pulled at my heartstrings, Promises, Promises is nevertheless enjoyable and entertaining and after all, is that not the reason we attend the theatre?m