Come Back, Little Sheba

Elia Kazan once said of William Inge that he wrote with "quiet terror". This is a perfect characterization of Come Back, Little Sheba, produced in repertory with Picnic by Off-Broadway's The Transport Group. This 1950s drama begins in the midwestern home of Doc (Joseph Kilinski) and Lola (Heather Mac Rae) Delaney. Marie (Hannah Elless) is an art student boarding in their home, and from the opening moments Doc's attraction to the beautiful young Hannah is palpable. His aversion to her playboy boyfriend Turk (David T. Patterson) goes beyond paternal protection and verges on jealousy. It is revealed early in act I that Doc suffers from alcoholism and Lola encourages his sobriety by asking him to repeat the serenity prayer. This is the only the tip of the iceberg of difficult themes examined in Inge's first play.

Jack Cummings III's production is staged in the round, which allows the audience of under 200 to observe the action up close, as if the characters are under a microscope. The dented kitchen cabinets, scratched coffee table, and torn couch depict a middle class lifestyle and a couple that could have been so much more. The Delaneys married young when Lola, the prettiest girl in her high school, became pregnant. They lost the baby and were unable to have more children, beginning a cycle of loss that included losing their dog, Little Sheba. Lola frequently dreams of Little Sheba and often calls out to her from the front door, as if in a trance. Mac Rae slips into a child-like state when she references her missing dog. Lola does not have the words to express the incredible void in her life and clinging to Little Sheba is her way of holding onto the life that passed her by.

The emotional climax in act II is extremely difficult to watch, but it also features the strongest acting. Doc realizes that Marie has had sex with Turk and he spins out of control, finding solace in a bottle of whisky. Unable to cope with Marie's lost innocence, he stumbles home and takes decades of despair out on Lola. Kilinski's portrayal of an alcoholic at the end of his rope is absolutely gut wrenching. He is erratic, twitchy, and the look in his eye as he berates Lola is nothing short of murderous. His insults are shocking as he calls her fat and a slut. Mac Rae's Lola is resolute on the outside while she is clearly crumbling inside, listening to her husband dig into every insecurity she feels. The most uplifting moment in the show occurs when the neighbor, Mrs. Coffman (Jennifer Piech) comes to her rescue. Her strength and nurturing keeps Lola from falling apart. A few days later, Doc returns and apologizes, though for what he does not remember, realizing how much he needs his wife to retain some semblance of normalcy.

In the final scene, Lola discusses a recent dream and agrees to stop calling for Little Sheba. Doc replies that it doesn't make much sense to continue, and she goes back to scrambling his eggs. They have resumed life as usual, but has anything really been resolved? This is an unfortunate reality for so many small town families as life must go on, and realizing ones dreams is secondary.

The show's themes are heavy, and the small size of the theatre and proximity to the actors increase the intensity exponentially. It is crucial to go into the show in the correct mindset. You cannot see this piece and expect to go about your day normally. It gets under your skin and makes you examine your own family, particularly if you grew up in the Midwest. 

In Transit

In Transit is a feel good show that makes New York City look like a squeaky clean place where everyone gets alone, smiles at one another, and finds their path in life. I wish this were true, but those who live here know differently. When is the last time you spoke to a random stranger on the subway? We don't look up from our phones long enough to make eye contact, let alone actually have a conversation.

In Transit is the first Broadway musical to feature a cappella music. The creative team features Kristen Anderson-Lopez of Frozen fame, though this piece doesn't soar nearly as high. One's opinion of this show will depend largely on their fondness for a cappella music. I honestly find it exhausting to listen to. For me it's overwhelming to hear all of that sound and try to take it in while also trying to decipher lyrics and a story. If you sang in one of those vocal groups with a quirky name in college, you may feel differently.

This one-act goes by at a feverish pace. The intention is to keep the energy flowing, like a rush hour express train, though it keeps any character or storyline from fully developing. The majority of characters are stereotypes: the out of work banker, the closeted gay man with a born-again mother, his eager to be married fiance, a recently dumped twenty-something, and because it's New York, a struggling actress. These roles are performed with vocal precision and palpable energy by James Snyder, Justin Guarini, Telly Leung, Erin Mackey, and Margo Seibert respectively. The one character who is written in three dimensions is Seibert's Jane. She shows genuine heartbreak when she finally wins a Broadway role, only to have it stolen by a star. The best scene in the show involves Jane riding the subway back and forth to JFK, unable to get on the plane to her high school reunion and face failure. Boxman, a subway performer with whom she often crosses paths, gives her a few inspirational words that help her to press onward in her pursuit of Broadway.

This piece should do very well touring and regionally, particularly in places without public transportation. In this world, the subway is a land of opportunity where all of your dreams can come true. But, New Yorkers...we know better.

Sunset Boulevard

Every once in a while, a show lands a theatre that suits it perfectly. Wicked and Lion King can fill big barns like the Gershwin and Minskoff, Next to Normal was right at home in the intimate Booth, and then there is the revival of Sunset Boulevard, which I cannot imagine anywhere but the historic and grandiose Palace. The ghost of Judy Garland must be very much at home in this morose, reflective production.

As a Broadway fanatic, I am embarrassed to say I didn't have much knowledge of Sunset Boulevard other than the casting drama involving Patti LuPone. Glenn Close certainly has a commanding presence as the tragic Norma Desmond. Her voice is not first rate, though the vocal impurities add to the sadness of the aging diva who is cracking before our very eyes. That being said, I don't see anything singular about Glenn Close's permanence that wouldn't have been conveyed by any other film actress of a certain age. Jessica Lange comes to mind as another woman who could fill Demond's pumps. Lady Gaga is someone I could see playing the role in future revivals, but that is a conversation for another day.

Sir Andrew Lloyd Webber's scores are known for recognizable numbers that become hits, such as Music of the Night, I Don't Know How to Love Him, Memory, and Don't Cry for Me Argentina. Sunset has two such numbers in with One Look and As If We Never Said Goodbye. Both are show stoppers, and though Close doesn't sing "Goodbye" like Patti did, she acts the heck out of it. Unfortunately the rest of the score is largely forgettable.

The full orchestra onstage is one of the highlights of this production as it harkens back to the old MGM films of the golden age. This production features a few interesting technical elements, such as the interesting construction of Norma's car using actors and lights, and extremely ornate costumes that queens will die for.

The Patti fan in me loves to hate Glenn Close's singing, but you cannot deny her extraordinary range as an actress. The finesse and nuance in the final scene is a thing of beauty. After Norma kills Joe in a jealous rage, we have every reason to loathe her, but we don't. We cry for her when she shouts her famous line "Mr. DeMille, I'm ready for my close-up." This once powerful woman has been so undone by the pressures of Hollywood that she has tricked herself into believing that the present is not real. In the hands of a less capable actress, the scene would be pathetic, but the greats like Close (and LuPone) have you so cleverly nestled in the palm of their hand that you fall for their every move. 

Natasha, Pierre, and the Great Comet of 1812

Tolstoy's War & Peace is an obvious subject for a musical, right? This may be a loose adaptation, but Tolstoy's seminal work was the inspiration, nonetheless. I chose not to read much about the show before seeing it because I wanted to be surprised. I was expecting a classical, traditional piece of theatre. Consequently, I was shocked to hear a rock/folk opera. Dave Malloy's score is cerebral, evocative, and quite quirky. His lyrics mirror the Russian writing style in the sense that they take paragraphs to convey what other others could say in a sentence. The prologue is a highlight in the way it quickly introduces each primary character and their relationships to one another, repeatedly adding one new character for each round of the song. By the time the prologue finishes, we've heard about Andrey and Natasha on a loop, though the brooding Pierre remains a mystery until the final seconds.

Josh Groban as Pierre is clearly selling the tickets. Though I would have loved to hear his stellar voice more often, it's refreshing to see a major celebrity perform in a show without being the singular star. There was something very folksy about seeing him sit onstage playing the accordion while lesser-known performers stole the spotlight. His "Dust and Ashes," building from delicately pensive to raw and powerful is somewhat of an 11 o'clock number for act I. The majority of his work in act II  is upstage by the erratic Natasha and Anatole, though his duet with Natasha provides an emotional climax in the penultimate song. "The Great Comet of 1812" is another vehicle for Groban's pristine vocals, highlighted by the backing of sweeping choral arrangements.

Denee Benton's Natasha has a strong presence and she's downright effervescent with youthful hope and joy in act I. But when she falls for Anatole, you stop rooting for her. You see that she's shooting herself in the foot and as an observer, feel helpless to stop it. I shifted my allegiances to Sonya (Brittain Ashford) as she tries desperately to stop her friend Natasha from ruining her life in her Lilith Fair-esque solo "Sonya Alone". I felt about Benton's Natasha like I've felt about every Cosette I've ever seen in Les Miz. She has a beautiful voice, but she's not a fully developed character. She allows her entire future to be undone when Anatole (Lucas Steele) bats his eyelashes. Speaking of Steele, this is what it means to be a scene stealer. He verges on pushing his flamboyant Anatole over the top, but he never quite crosses the line. His portrayal stays grounded in the sense that all Anatole is really after is love, but he doesn't yet understand what that means and how his pursuits affect those around him.

Rachel Chavkin's direction is the true star of the show. I am a big fan of scrapping the traditional proscenium staging and Mimi Lien's scenic design completely reimagines the Imperial. With onstage banquets and tables, each seat in the house provides a completely different perspective on the action. If you are unnerved by being approached closely by actors, even in the mezzanine, steer clear of this show. The close proximity of the performers and the club-style design puts the audience in the middle of the party in 19th century Russia. This piece is provocative, so if you don't like your Russian theatre edgy, you should probably walk a block south and see Anastasia.

Sunday in the Park with George

I will preface by saying that Sunday in the Park with George is a very close second behind A Chorus Line on my list of favorite musicals, so you won't get objectivity from me. In my opinion, this is the most perfect score ever written for the musical theatre. The complexity of Stephen Sondheim's work, and the way in which it mimics Seurat's pointillistic style, is a marvel. It is highbrow and cerebral, yet also emotionally resonant and accessible.

I love Annaleigh Ashford, but I was surprised when she was cast as Dot/Marie. She doesn't fit the mold of the women who have played the role in major production. That being said, I found myself actually laughing tonight. This show presents pretty heavy material, but Annaleigh was able to mine out every little nugget of comedy. Conversely, this made her more emotional moments even more heart wrenching. I found her Marie to be more engaging than any of the others I've seen. Her southern drawl peppered act II with sass, which again, made the ballads ever more powerful. Her connection to her mother in the painting during "Children and Art" was palpable.

Jake Gyllenhaal is thoroughly impressive as George. You'll be shocked when you hear him sing. He's not just one of those actors who happens to sing well...he's a Singer with a capital S. His portrayal of the dogs is a highlight as the comedy juxtaposes the seriousness of Act I George. His impeccable diction makes the fast paced numbers,  namely "Color and Light" and "Putting it Together," a dream to listen to.

The supporting cast fills out the painting with standout performances from Erin Davie and Ruthie Ann Miles. This is truly an ensemble show and it's refreshing to see actors, the aforementioned specifically, who have starred in previous shows be able to blend into the chorus, yet deliver a knockout line when the libretto dictates.

I firmly believe that our favorite shows affect us differently at different phases of our lives. We relate to characters differently, a previously ignored song stands out, or a particular scene is revealed to us in a new light. That new moment for me tonight was Dot's speech before "Move On". When she explains what she learned from George, she talks about concentration. When she was younger, she thought it meant standing still and focusing, but now she knows concentration means feeling comfortable where you are, not living in the past or the future. This really stuck me. It's a common sentiment to live in the moment and live for today, but the idea of concentration really gripped me. In a sense, she's admitting that George was never in the wrong in their relationship, but he helped her to grow and change, which helps her to go forward. It's absolutely gutting to think that two people can be right for one another all along, but the timing doesn't work. However, Dot and George don't feel that way in the end. They honor their time together and move forward. I always say that Sunday is the most cathartic closing number in the entire musical theatre canon and George's final spoken sentence really provides closure and hope for the audiences. "White a blank page or canvas, his favorite, so many possibilities."

Rasheeda Speaking

Speaking, starring Tonya Pinkins and Dianne Wiest, marks the directing debut of acclaimed actress Cynthia Nixon. Written by Joel Drake Johnson, this workplace drama brings to light the racial tensions that are still so present in America today. Ileen (Wiest) is the eager-to-please manager of Dr. Williams' (Goldstein) office, while Jaclyn (Pinkins) seems to always rub everyone the wrong way. The stark contrast between these two women is amplified by the staging--two desks splitting the stage--and the obvious difference of one woman being black while the other is white.

The tension between Jaclyn (Pinkins) and the white employees in the office is palpable immediately as Ileen and Dr. Williams discuss how to get Jaclyn fired without creating an HR nightmare. This motif of Jaclyn walking into a room stealthily as she's being gossiped about is repeated several times throughout the play. At the beginning, Jaclyn and Ileen are friendly, with Ileen saying "you are full of drama, I missed your stories, your yammerings." Then things start to unravel as Jaclyn starts showing up late, mixes up details when she tells stories, and grows increasingly negative. This wears on Ilene until she reaches a point of such hysteria that she brings a gun to work and quits.

As the audience, we get what Johnson is trying to do here. He wants to show us that as much as we try to push them under the carpet. Unfortunately, in making Jaclyn, or as she later refers to herself, the stereotypical Rasheeda, he undermines his point. We have to assume that Johnson wants us to pull for Jacylyn since he establishes her as an underdog early on, but she is just such a horribly unlikable character. The pacing is also quite slow, making it difficult to feel engaged in the piece. The subject is certainly an interesting one, but a play may not be the best vehicle. The drama of the piece never really ramps up until the final twenty minutes, with the highlight being Dianne Wiest's exquisite portrayal of the physical effects of emotional stress on Ileen. Cynthia Nixon does a fine job in her directorial debut, but I have to wonder what she could have done with a more interesting script?

See CHAPLIN while you can!

The critics loved it and you'll love it too! Don't miss your chance to see Chaplin in its final weeks.

Chaplin, starring Rob McClure, runs through January 6th at the Barrymore Theatre. Make it a part of your Holiday plans!

Win a Nice Work If You Can Get It cast album!

Nice Work If You Can Get It, one of the biggest hits of the 2011-2012 Broadway season has recently release a cast album!

To win, answer the following question along with your email address in the comments section below. Please reply by Saturday 10/20 at 11:59 pm.

NICE WORK star Kelli O'Hara is a 3-time TONY nominee. For which shows has she been nominated?

Win a pair of tickets to The Heiress on Broadway!

THE HEIRESS

THE HEIRESS is the story of Catherine Sloper (Chastain), the shy and sheltered daughter of a prominent New Yorker (Strathairn). Caught between the demands of a controlling father and the attentions of a passionate young suitor (Stevens), Catherine must navigate the terrain of love and regret, desire and duty, a chance for happiness and the burden of fortune…as only an heiress can.

http://theheiressonbroadway.com/Facebook: http://www.facebook.com/TheHeiressBwayTwitter: https://twitter.com/TheHeiressBwayPinterest: http://pinterest.com/theheiressbway/

To win, answer the following question along with you email address in the comments section below by Saturday 10/20 at 11:59 pm.

Actress Jessica Chastain received an Academy Award nomination for which movie?

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

Win a pair of tickets to Nice Work If You Can Get It on Broadway!

Hilarious Broadway entertainment is back in high style!
Don’t miss the high-stepping new musical comedy extravaganza from Kathleen Marshall, the Tony®-winning director/choreographer of The Pajama Game who turned Anything Goes into last year’s most effervescent delight, and Joe DiPietro, Tony®-winning writer of Memphis. Matthew Broderick (The Producers) and Kelli O'Hara (South Pacific) star in this sparkling tale of playboys, politicians, bootleggers and leggy chorus girls, all running loose in a glorious Long Island mansion in the rip-roaring 1920s. Let the fun begin!

Leading lady Kelli O'Hara is a graduate of Oklahoma City University. She studied with the same voice teacher as which TONY-winning Broadway actress?

Post your answer to the question in the comments section below this post with an email address where I can contact the winner. The contest will run until 11:59 pm on Sunday March 11th. The winner will be selected randomly from those who answer correctly and will be notified by email.

ORDER NOW AND SAVE UP TO 40%
(Nice deal if you can get it–and you can get it if you order by April 23!)
Mon Eve, Tue Eve, Wed Mat & Eve, Thur Eve
$79-89 Orch/Fr. Mezz, Rear Mezz A-C (reg. $121.50 - $136.50)
$69 Rear Mezz D-F, Side Rows A-C (reg. $86.50)

BUY TICKETS!
Valid for performances March 29 – April 23
VISIT BroadwayOffers.com or CALL 212-947-8844 and use code NWEML31
Or bring this offer to the box office, beginning March 1st.

Win tickets to LYSISTRATA JONES on Broadway!

Jason Tam stars as Xander in Lysistrata Jones. What role did he play in the Original Broadway Revival Cast of A Chorus Line?

Reply by leaving your answer in the comments section below this post by 11:59 p.m. on Sunday November 13th. Also leave an email address where you can be contacted if you are winner. Two winners will be selected at random to win (2) tickets each. 

You'll have a ball at the blissfully funny new musical that gives Aristophanes’ classic comedy a sexy, 21st century twist. Showcasing an ingenious mix of hilarity, heart and hoops, it’s the winningest show on Broadway! 

Lyssie J. and her girl-power posse won’t “give it up” to their basketball playing boyfriends until they win a game—and ultimately find that abstinence truly does make the heart grow fonder!

With its infectious original score, genre-defying choreography and a hysterical book from three-time Tony® nominated playwright Douglas Carter Beane (The Little Dog Laughed), composer and lyricist Lewis Flinn (The Divine Sister) and Tony® nominated director and choreographer Dan Knechtges (The 25th Annual Putnam County Spelling Bee) it's no surprise that downtown’s sold-out sensation is now Broadway's feel-good must-see hit!

Get special $50 tickets to LYSISTRATA JONES for 12 performances only! Performances begin on November 12!

Visit BroadwayOffers.com (http://www.broadwayoffers.com/go.aspx?MD=2001&MC=LJPVW50) and enter code LJPVW50

Call: 212.947.8844

Go to the Walter Kerr Theatre box office, 219 W. 48^th St. between Broadway and 8^th Ave., with this coupon and mention code LJPVW50

Www.LysistrataJones.com

www.Facebook.com/LyssieJones

*Offer valid on all performances November 11 – November 23, 2011. Certain other blackout dates may apply. Subject to availability and prior. Not valid on previously purchased tickets and may not be combined with other offers. Applicable only to specified performance dates and times. All sales are final; no refunds or exchanges. Valid on select locations only. Seating restrictions may apply. Telephone/internet orders subject to standard Telecharge.com service fees. When purchasing at box office, present offer prior to ticket inquiry. Offer may be revoked at any time. Limit 19 tickets per person per week. Offer expires Nov. 23, 2011.

Who's That Woman: My Review of Follies

Some of Stephen Sondheim's most catchy tunes, ornate costumes and sets, and the divine Miss Bernadette Peters...what more could you ask for? Many musical theatre aficionados will not be happy with a production of Follies until one directly matches the original from 1971, but the Kennedy Center's current incarnation does a completely respectable job in hearkening back to the original while updating in a few places. The production is what I'll call hauntingly stunning in that the visuals are sharp and memorable while they evoke a feeling of longing for what once was...or never was. The opening moment will stay with me forever and yet it is remarkably simplistic. As the lights come up ever so dimly, a gorgeous showgirl ever so slightly raises and lowers her arms. As she begins to turn to face down stage, other show girls enter unison with the overture and we are immediately transported back to 1940 when the dancing girls were the epitome of style and class.

The first star entrance is that of two-time Tony winner Bernadette Peters in the role of Sally Durant Plummer. She looks so darn sweet and hopeful as she swoons at the thought of returning the New York City and reuniting with those from her past that she almost reminds you of little orphan Annie. This is not the strong, domineering Bernadette that we saw in Gypsy, or more recently in A Little Night Music, but a fragile and delusional woman who seems to forget that she is well beyond her showgirl days and therefore, past her prime. She is soon reunited with a diverse cast of characters that were her friends and fellow dancers 30 years prior, most noticeably her former roommate Phyllis Rogers Stone played by the luminous Jan Maxwell. Director Eric Schaeffer does a beautiful job of incorporated the younger selves, or ghosts, of Sally and Phyllis as well as their respective husbands Buddy and Ben in the song Waiting For the Girls Upstairs, where we learn that the foursome went dancing many a night after the boys waited for the girls at the stagedoor. We also learn very quickly that Sally is not and has never been happy with Buddy, as she has always longed for her first love Ben who married Phyllis so many years ago.

In the beginning of the first act we are treated to Broadway Baby, Ah Paris, and In Buddy's Eyes. Linda Lavin, Regine, and Ms. Peters respectively perform the heck out of these songs, though they appear more as cabaret numbers rather than integrated pieces of the show. This may be a flaw in the show's book or in the direction, but I'm willing to forgive that because of what comes up next, the show-stopping Who's That Woman led by the commanding Terri White. She taps, she belts, what doesn't she do? The choreography is relatively simplistic, but this production number performed by all the former showgirls is just so entertaining that you want to be on your feet dancing along with them. Watching Bernadette tap in her LaDucas is just one of most delightful things I've ever seen.

The rest of Act I includes the phenomenal I'm Still Here by an illustrious Elaine Paige who has a penchant for the over-dramatic. At the end of the act things really fall apart as Buddy and Phyllis realize that his wife is in love, and borderline obsessed, with her husband. Too Many Mornings, the act I finale is beautifully staged between Sally, Ben (Ron Raines) and their young ghosts. Ben goes so far as to kiss Sally and being the egotistical womanizer he is, it means nothing to him though Sally takes it as an announcement of love and a marriage proposal. Ms. Peters is quite fantastic in this scene as we sympathize with her Sally because Ben is playing so nonchalantly with her emotions.

Act II gives us a much better look at the talents of the show's other stars Jan Maxwell and Danny Burstein. Her Could I Leave You is a perfect example of why Sondheim normally casts actors who sing rather than singers who act. Her attention to character and emotion in this song about divorcing Ben is spot on and though her vocal tone is not always perfect, we'll forgive her. We reach the emotional climax of the show in Loveland a dream sequence where the primary characters and their younger selves deliver performances that reveal their deepest emotions. Buddy's Blues is a vaudeville-style number that demonstrates Danny Burstein's true talents as a song and dance man as well as a gifted actor and Live Laugh Love shows us how emotionally tortured Ben has felt throughout his life. The Story of Lucy and Jessie is meant to be a showstopper for Phyllis, but unfortunately the choreography does nothing for Jan Maxwell but make her look inadequate while the male ensemble pulls focus. The highlight, for me, of the second act is Sally's Losing My Mind where she reveals the depths of her obsession with Ben and the turmoil it puts her though day after day as the smallest things from the sun and a cup of coffee make her daydream of him. I've said it before but watching Bernadette Peters sing on stage is like taking a master class in acting a song. She stands still downstage center for the entire song and never moves, not even her arms. Every ounce of emotion is on her face and in her voice. Her performance of this song is something I will remember for my entire life.

It is debatable whether the show ends with a tiny bit of hope or in complete despair and I guess it depends on the person. I'll paraphrase the final lines, but after Ben decides to stay with Phyllis, Buddy walks Sally out of the theatre and tells her they'll wait until tomorrow and decide what to do, to which Sally responds that it is already tomorrow. I guess we'll really never know what happens to these characters after the show ends and that is, for me, the most frustrating part of the show.

Its been nearly a week since I saw Follies and I've been trying to formulate my opinions, but I've struggled. One conclusion that I've come to is that every important piece of plot and emotion is covered in the songs so perhaps this show is better done in concert than in a fully staged production. Then those great numbers like Broadway Baby won't stand out because they don't fit into the plot, but simply because they are fantastic songs.

2011 Spring Broadway Preview

Well kids I'm finally getting back to my roots and covering theatre as the spring 2011 Broadway season gets underway. I took a little break in the winter because there wasn't much going on aside from Spiderman: Turn Off the Dark and everybody has been covering that so I didn't find it necessary to beat a dead horse. This will be my first in a long series of posts leading up to the Tony awards in June. I am going to attempt to see as many of the nominated shows as I can so I can be as informed as possible when I make my Tony predictions. At some point I'll probably write about the shows that have already opened this season as well as those that have opened and closed, because they'll still be considered for Tonys, but for now I'm going to focus on the shows opening between now and May. I've listed the shows in order by the date of their official opening.

Good People
This is a world premier of David Lindsay-Abaire's new play about a newly-unemployed Bostonian woman who reunites with an old flame. Directed by Daniel Sullivan, the cast features Frances McDormand and Tate Donavan. It began previews at Manhattan Theatre Club's Samuel Friedman J. Theater on February 8th and has its official opening on March 3rd.

That Championship Season
A revival, this play by Jason Miller focuses on a group of ex-high school heroes as they reflect on their golden season, the year they won the Pennsylvania state high school basketball championship. Gregory Mosher directs a cast including Brian Cox, Jim Gaffigan, Chris Noth, Jason Patric, and Kiefer Sutherland. Previews began at the Bernard B. Jacobs Theater on February 9th with on official opening on March 6th.

Spider-Man: Turn Off The Dark
This is perhaps the most highly anticipated musical in years and its faced its fair share of drama from injuries to delayed openings. This mega-musical by Bono and the Edge of U2 is the most expensive ever produced on Broadway. Directed by Tony winner Julie Taymor, the cast features Patrick Page, Jennifer Damiano, and Reeve Carney in the title role. Previews began at the Foxwoods Theater on November 28th with the official opening pushed back to March 15th.

Arcadia
A revival, this Tom Stoppard play begins in 1809 England where a gifted student proposes ideas and theories that are never truly realized until two academic rivals put the puzzle pieces together nearly two hundred years later. Billy Crudup and Raul Esparza star with direction by David Leveaux. Previews begin February 25th at the Ethel Barrymore Theater with official opening set for March 17th.

Priscilla Queen of the Desert
This is one of the most highly anticipated new musicals of the season. It recently began its New York rehearsal process after a run in Toronto. Tony Sheldon, Will Swenson, and Nick Adams star as drag queens who perform across the Australian outback on their bus Priscilla. The show is composed of popular hit music and disco standards. Simon Phillips directs this production that begins previews at the Palace Theater on February 28th and opens March 20th.

Ghetto Klown
This marks actor John Leguizamo's fourth solo show on Broadway, covering everything from his Queens upbringing to the early days of his acting career in the overly eccentric 1980s. Nothing is spared in this exuberant piece, not even Hollywood's biggest stars. Fisher Stevens directs this Leguizamo original that begins previews at the Lyceum Theatre on February 21st and runs March 22nd to May 15th.

The Book of Mormon
This new musical features a book by Trey Parker & Matt Stone (creators of South Park) and music by Robert Lopez (Avenue Q). The story of two modern missionaries in Uganda is told alongside that of  the founder of the Church of Latter-Day Saint. Casey Nicholaw directs a cast including Josh Gad, Andrew Rannells, Rory O'Malley, Nikki M. James, and Michael Potts. Previews begin at the Eugene O'Neill Theater on February 24th with opening night set for March 24th.

How to Succeed in Business Without Really Trying (H2$)
This highly anticipated revival of the Frank Loesser classic stars Daniel Radcliffe as J. Pierrepont Finch, a young mail clerk who rises to Vice President of Advertising with less than moral business practices. John Laroquette, Rose Hemingway, Tammy Blanchard, and Christopher J. Hanke also star, with voice over work by Anderson Cooper and direction and choreography by Rob Ashford. Previews begin at the Al Hirschfeld Theater on February 26th with an official opening on March 27th.

Bengal Tiger At The Baghdad Zoo
Narrated by a captive tiger, this play follows two American marines and an Iraqi gardener as they sift through the rubble of war . Robin Williams stars as the tiger and narrator. This is an original play written by Rajiv Joseph and directed by Moises Kaufman (The Laramie Project). Previews begin at the Richard Rodgers Theater on March 11th and the show opens on March 31st.

Anything Goes
This revival of the classic Cole Porter musical about two unlikely pairs aboard the S.S. American features a star-studded cast directed by Kathleen Marshall. Sutton Foster stars as Reno Sweeney, a role that garnered a TONY nomination for Patti LuPone, along with Joel Grey and Laura Osnes. Previews begin at Roundabout Theater Company's Stephen Sondheim Theater on March 10th and the production opens on April 7th.

Catch Me If You Can
This new musical based on the film of the same name features a book by Terrence McNally and music and lyrics by Mark Shaiman and Scott Wittman with direction by Jack O'Brien. It was well received during its Seattle run and the cast is chock full of stars including Aaron Tveit, Norbert Leo Butz, Tom Wopat, and Kerry Butler. Previews start at the Neil Simon Theater on March 11th with an official opening on April 10th.

The Motherf**ker With the Hat
This new play looks at the relationship between a longtime couple on the verge of a breakdown as one becomes sober while the other remains addicted to alcohol and drugs. Anna Shapiro directs this new play written by Stephen Adly Guirgis; Bobby Cannavale, Chris Rock, and Annabella Sciorra star. Previews at the Gerald Schoenfeld Theater begin March 22nd with opening night set for April 11th.

War Horse
This new play by Michael Morpurgo & Nick Stafford is a production of Lincoln Center Theatre Company. Marianne Elliott & Tom Morris direct this production that uses puppetry to tell the story of a young boy named Albert and his horse Joey in the midst of World War I. Seth Numrich stars as Albert in this production that begins previews at the Vivian Beaumont Theater on March 15th and opens on April 14th.

Wonderland
This new musical be Frank Wildhorn tells the story of Alice, but it isn't your grandmother's Alice in Wonderland. In this story, Wonderland is actually below New York City and Alice has a daughter. Janet Dacal stars as Alice alongside Kate Shindle as the Mad Hatter. This production directed by Gregory Boyd starts its preview period at the Marriott Marquis Theater on March 21st and opens on April 17th.

Sister Act
This new musical is based on the film of the same name and is transferring from London's West End where it was wildly successful. The music is written by Alan Menken & Glenn Slater with direction by Jerry Zaks. Patina Miller stars as Deloris and Tony winner Victoria Clark takes on the role of Mother Superior. Previews begin at the Broadway Theater on March 24th with opening night set for April 20th.

Jerusalem
This comedy by Jez Butterworth is a transfer from London directed by Ian Rickson. It tells the story of a modern day pied piper who is on the run from the police. It also includes a motley crew of sidekicks. Mark Rylance stars in his second Broadway turn of the season along with John Gallagher, Jr. Previews begin at the Music Box Theater on April 2nd with an April 21st opening.

House of Blue Leaves
This revival of John Guare's 1971 play tells the story of the Pope's 1965 visit to New York City. The characters profiled include a zoo-keeper, his schizophrenic wife, his mistress, and an AWOL son. Ben Stiller and Edie Falco headline alongside Jennifer Jason Leigh and Alison Pill. David Cromer directs this production at the Walter Kerr Theater, beginning previews on April 4th and opening on April 25th.

Fat Pig
This is the first Broadway production of this Neil LaBute play that debuted off-Broadway a few seasons ago. Tom is an eligible bachelor who finds love with a plus sized girlfriend. Their objections and jabs make Tom examine himself and the value of his own good looks. Dane Cook and Julia Stiles star in this production directed by Neil LaBute himself. The production will play the Belasco Theater starting April 12th in previews and opening April 26th.

The People in the Picture
This new musical produced by Roundabout stars Donna Murphy as Bubie, a Holocaust survivor in 1970s New York City. Her granddaughter is enraptured by her tales of the war, but her daughter wants to hear nothing of her past. Iris Rainer Dart contributed the book and lyrics while Mike Stoller & Artie Butler composed the music. Chip Zien, Alexander Gemignani, and Nicole Parker also join the cast directed by Leonard Foglia. The production begins previews at the American Airlines Theater on April 1st and officially opens on April 28th.

Broadway.com | Ooh-la-la, Zaza! Feast Your Eyes on Harvey Fierstein and Jeffrey Tambor in La Cage aux Folles

These photos of Harvey Fierstein as Zaza are fantastic!

Broadway.com | Ooh-la-la, Zaza! Feast Your Eyes on Harvey Fierstein and Jeffrey Tambor in La Cage aux Folles

STAGE TUBE: Sondheim Talks Lyrics, Life, and More with PBS Video Content (BroadwayWorld.com)

Listen to living Broadway legend Stephen Sondheim as he discusses his work with PBS' Jeffrey Brown. From Follies and Company to A Little Night Music and Sweeney Todd, Sondheim has given us some of the American musical theatre's greatest treasures.

STAGE TUBE: Sondheim Talks Lyrics, Life, and More with PBS Video Content (BroadwayWorld.com)

Bloody Bloody Andrew Jackson Will Shutter on Broadway Jan. 2, 2011 - Playbill.com

The show that was the hit of the Public Theatre's season and was thought to be Broadway's next big hit as well has received its closing notice. According to producers, they have yet to have a week where they make enough profit to cover their operating costs, let alone making enough to pay back initial investments. While the show will close well before the TONY awards, they still have a chance to be nominated for awards as was the case with last season's revivals of Finian's Rainbow and Ragtime which closed well before TONY season. Bloody Bloody Andrew Jackson will play its final performance Sunday January 2nd.

Bloody Bloody Andrew Jackson Will Shutter on Broadway Jan. 2, 2011 - Playbill.com

My Most Memorable Theatre Experiences: #1 A Chorus Line

Its been a long time coming but we are finally at number one. I feel so much love for this show and it is so close to my heart that it may be difficult for me to translate that into words, so please bear with me. I saw the Broadway revival of A Chorus Line for my 20th birthday in April of 2008 and it changed my life. I have done and been many things in my life but one defining word has stayed with me since the age of three, and that word is "dancer". I am embarrassed to say it, but before seeing the revival of A Chorus Line, I knew little about the show other than that it was about dancers. I had performed to songs like "I Can Do That" and "One" in numerous dance recitals so I expected to see a lot of jazzy choreography and pizazz onstage at this show, but what I experienced was so much more.

From the opening number, I understood that I was witnessing an audition process where a director was preparing to cast a dancing chorus for a Broadway show. When we got to the montage of "Hello 12, hello 13" I was surprised by the honesty in the characters' stories from childhood. But by the time we reached "The Music and the Mirror," it began to hit uncomfortably close to home. On a side note, I was completely star struck by Charlotte D'Amboise in the role. I don't know that I've ever truly had my breath taken away by a performer in the way that I had with her. Cassie speaks for everyone who has ever stood at the end of a kickline when she says "sure I'd love to be a star, but I'm not, I'm a dancer." I've performed with troupes before where directors told us, "we perform as we line, we don't want any Cassies trying to stand out." Having heard this time and time again, I expected Cassie to be a complete diva, but what I realized throughout "The Music and the Mirror" was that Cassie was just as shy and scared as every other dancer on that line and all she wanted was to return to what she did best-to dance.

A Chorus Line is probably one of the most commonly performed musicals in the world and countless directors try to interpret it differently, most often taking it out of its original 1970s setting and trying to modernize it. I've seen this fail time and again, always for the same reason. This show is about one thing, and one thing only, the role of the dancer in musical theatre, something which has changed drastically since the 1970s. Back then, dancers were known as "chorus kids" or "gypsies" because when one show closed, they would perform in another, going virtually unnoticed. When Michael Bennett created A Chorus Line in a dance studio based on conversations he had with Broadway dancers, the Braodway dancer was to be seen and not heard, and made a fraction of the salaries paid to the actors and singers in shows. Once the 1980s hit, the mega musical was born and performers were forced to become triple threats (singers, dancers, and actors) if they wanted to audition for Broadway. The age of the true Broadway gypsy became a bygone era, which is why A Chorus Line is now considered a period piece and should remain as such.

Now back to my memory...by the end of the show I was so involved with the characters and could see myself in every one of these dancers trying to prove that they deserved a spot on that line. The 11 o'clock number, "What I Did For Love" is the tearjerker of the show, but for me it was a moment of great catharsis. It validated every sacrifice I had every made and would continue to make in my life for dance. It made me feel such a sense of camaraderie with not only the characters, but the actors themselves. This was one of the few times when I truly believed the performers onstage were living rather than acting because they weren't simply playing dancers, they were dancers. This show has not only become one of my favorites, but A Chorus Line has become a part of me as it pays tribute to those who would give up everything they have, for the chance to dance.

My Most Memorable Theatre Experiences: #2 The Phantom of the Opera

When I was 4 years old I was visited by the angel of music and I was never the same. My aunt took me to the Kennedy Center's Opera House to see the national tour of The Phantom of the Opera and according to her stories, I was the most well behaved four-year-old that anyone in the audience had ever seen. I was completely mesmorized and though I've seen the show several times since then, I'll always remember my first. Come to think of it, wasn't "remember your first time" an ad slogan used to promote the show a few years ago? Anyway, it's becoming increasingly difficult for me to decipher my first memories of the show from more recent ones, but I certainly remember the specatacle, from the the Phantom's lair  to the masquarade, and of course the falling chandelier. But above all else, I remember the music and that has lived with me for the past 18 years. I loved to listen to the original cast recording, I believe it was on cassette tape then, and I specifically remember running around my house singing the cadenza to "Think of Me" and the notes above the staff at the end of the title track, because I wanted to be Christine Daae. I was probably the only four year old in my neighborhood who know what a high C was.

While I have come to love many other musicals in my theatre-going career, The Phantom of the Opera will always be my first. And as a singer, I still love singing this score more than anything other piece of music I've ever learned. Though there are surely other musical theatre composers that I admire more, I will always credit Andrew Lloyd Webber with inspiring my love of the musical theatre, which has become for me, a love that never dies.

My Most Memorable Theatre Experiences: #3 RENT

I am not here to call myself a RENT-head as I was not a part of the cult following that originated with the show circa 1996 (I was about 8 years old then) but the Jonathan Larson's masterpiece touched me just the same. I am quite embarrassed to say that I saw the movie before I saw the Broadway production, but nonetheless, the movie was my gateway to the show. It was March of 2006 and my senior year of high school when I took a trip to New York with my mom. I was obsessed with RENT's score and we tried to get tickets to the show, but because of the movie's popularity, tickets were hard to come by. We waited in freezing weather at TKTS but the only thing available was partial view. We had recently heard about the show's ticket lottery and decided we would try our hand at that. Our hotel concierge urged us to purchase tickets because the lottery was "nearly impossible" to win, but we thought we'd try our luck anyway.

I remember this like it was yesterday. My mom and I both wrote our names on sheets of paper and anxiously awaited the drawing. I could tell that most of the other people there that night were huge fans of the show and their love for RENT was infectious. Now I am not what I would consider a lucky person, but on that day something just felt right and sure enough, the first name drawn was mine! I couldn't keep from shaking as I handed the box office attendant the $40 to purchase my two front row tickets.

Now I don't know what I can say about RENT that hasn't already been said, but never in my life had I felt so much love and energy in one room. I have now seen the show several times, always from the front row as a lottery winner and I would never want to see it from anywhere else. There is really nothing like it, you feel like you are on stage with the actors and their energy is kinetic. This is one of those shows that has meant different things to me at different points in my life and what spoke to me then was the message "no day but today". It was a difficult time for me as I was preparing to choose a college and transition into a new phase in my life and the show's message really gave me the strength to seize these new opportunities. My first time seeing RENT is an experience that I will never forget and of all the theatre lotteries I've won over the years, this was truly the luckiest I've ever felt.