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 Tickets to FOLLIES on Broadway!

Two-time TONY winner Bernadette Peters stars in this production of Follies as Sally Durant Plummer. For which role and which show did she win her first TONY award? 

Answer the question in the comments section below. The contest will run until Thursday September 22nd at 11:59 pm at which time (2) winners will be chosen at random to receive a pair of tickets to a select performance of Follies on Broadway. Please include your email address in the post so we can contact the winners.

FOLLIES on Broadway

“WHITE-HOT. VIBRANT & MOVING.
A vigorous heart beats at the center of The Kennedy Center’s revival of FOLLIES.”
–Ben Brantley, The New York Times

“****! A DELUXE PRODUCTION OF A DAZZLING MASTERPIECE.”
–Adam Feldman, Time Out New York

The Kennedy Center’s lavish and landmark new staging of James Goldman and Stephen Sondheim’s Tony Award®-winning musical FOLLIES comes to Broadway’s Marquis Theatre (46th St. between Broadway and 8th) for an historic limited engagement, complete with its 28-piece orchestra and a cast of 41—led by such Broadway babies as two-time Tony® winner Bernadette Peters, four-time Tony® nominee Jan Maxwell, two-time Tony® nominee Danny Burstein, three-time Emmy nominee Ron Raines and Olivier Award winner Elaine Paige.

Purchase Between Now and  October 2

$89 Orchestra/Front Mezz (reg. $135/$125)

$65 Mid Mezz (reg. $95/$85)

Order August 7 – October 2, Use code 2BUDDY

Call: 877-250-2929

Online: Ticketmaster.com (http://www.ticketmaster.com/Follies-tickets/artist/852845?CM_MMC=Follies+website-_-Follies-_-landing+page-_-get+tickets)

Visit: The Marquis Theater, 46^th Street between Broadway and 8^th Ave.

Website: www.FolliesBroadway.com

**Conditions: Valid for performances through 10/2/11 All prices include $2 facilities fees. Limit 8 tickets per order. Offer subject to availability and prior sale. ALL SALES FINAL. No refunds or exchanges. Telephone and Internet sales are subject to standard service fees. Offer may be revoked at any time or modified at any time without notice.  

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! 

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.

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!

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 #15: Send In The Clowns

Send in the Clowns from A Little Night Music is arguably Stephen Sondheim's most well known song. Countless singers have performed and recorded this song, but in my opinion, nobody does it as well as Bernadette Peters in the current Broadway revival of the show. Unfortunately I do not have access to a video of the full song, but this clip provides a nice glimpse at her incredible performance, not to mention her iconic voice.

Reply For Your Chance To Win A Pair Of Tickets To A Little Night Music On Broadway!

Isn't it rich? Aren't they a pair? Those of you who have been following my blog know how much I loved the current Broadway revival of A Little Night Music. Not only is the show itself fabulous, with a music and lyrics by Stephen Sondheim, a book by Hugh Wheeler, and direction by Trevor Nunn, but Broadway has not seen a pair of actors with the talent and onstage chemistry of Bernadette Peters and Elaine Stritch in some time. A Little Night Music is simply the most lovely production I've seen on Broadway in years and Bernadette Peters, in the role of Desiree Armfeldt, gives the most memorable performance that I have experienced in all my years of theatre-going.

This incredible piece of theatre has recently announced an extension of their Broadway run with a posted closing date of January 9th, 2011. If you haven't seen this production yet, or if you are like me and can't bear to let it close without seeing it again, then here is your chance. Provide the correct answer to my trivia question in the comments section of this post and you are automatically entered to win a FREE pair of tickets to the show. Be sure to also include your email address so I can contact the winner. Post your answers and email addressed by Tuesday November 9th, 2010 at 12pm and I will then chose a winner at random out of the correct responses. Good luck!

Question: Elaine Stritch is most famous for performing which Stephen Sondheim standard?

If you are not chosen as the contest winner, here is a way to save on your tickets to A Little Night Music. Use the fan code LMFAN826 at broadwayoffers.com, call 212-947-8844 and mention the code, or visit the box office at The Walter Kerr Theatre at 219 W 48th st New York, NY. This discount is good for $89 Orchestra/Front Mezzanine seats (regularly $137) or $59 Rear Mezzanine seats (regularly $97-$107) and is valid only through December 26th!

My Most Memorable Theatre Experiences: #7 A Little Night Music

I apologize now if I start gushing, but of my list of top 10 theatre experiences, the revival of A Little Night Music was my most recent show so it is incredibly fresh and vivid in my memory. This show was a highlight of my life as a theatre-goer for several reasons. First of all, it was my first experience with a Stephen Sondheim work live on stage, other than Sondheim on Sondheim, and I was certainly not disappointed. From the top of the overture the final waltz, I was enraptured by the intricacies of the music, eloquence of the text, and the actors' polished performances. I found myself humming in 3/4 time several days after seeing the show. I try to see as many theatrical productions as possible, particularly those with historical significance that have made a grand impact on the musical theatre canon, but perhaps the biggest draw for me was Bernadette Peters. I wanted to see A Little Night Music when Catherine Zeta-Jones and Angela Lansbury were playing Desire and Madame Armfeldt, but I simply had to see this production when Bernadette Peters and Elaine Stritch took over the lead roles.

I have been a big fan of Miss Peters since I started my vocal training. My voice professor in college was frustrated because I learned vocal technique very quickly, but she was having trouble teaching me to "act the song." Finally, she sent me home with a VHS copy of Sunday in the Park with George and said "watch Bernadette Peters and learn from her." At that moment I got it. I realized that in the musical theatre, one must deliver a song as the character rather than themselves and that that often means letting go of vocal technique in order to allow the characters' emotions to seep through. Because Miss Peters has had such a profound impact on my growth as an artist, I was delighted to finally have the chance to see her on stage.

I was literally shaking in my seat as the curtain rose in the Walter Kerr Theatre. The actors entered in darkness but the moment I saw her signature red curls, I knew that I was in the presence of my Bernadette. I expected to fall in love with Bernadette's performance, and I did, but I also fell in love with the entire company and the show as a whole. Elaine Stritch was perfection in her comic timing and Alexander Hanson was a debonair, yet vulnerable Frederick.  The younger cast members sparkled as well from Leigh Ann Larkin's Petra with her 11 o'clock showstopper The Miller's Son to Erin Davie's Charlotte and her acerbic sense of humor. But the true highlight of the evening for me was Bernadette Peters' Send in the Clowns. This is arguably Sondheim's most well known song and I've heard it many times over, but never truly understood its meaning. But in the context of the show and this specific scene where Frederick rejects Desire's love despite their history, I began to realize the weight of this song. They realize that they are in two very different places and when Desire is finally ready to love Frederick, he has found another wife, and the only way she can cope with the tragedy of the situation is to fake humor. In this respect, the song is truly heartbreaking and while Bernadette was visibly crying during her performance, I was doing the same from my orchestra seat, for many reasons. Not only was I feeling sympathy for Desire and her grief, but I was thinking of how lucky I was to finally see my idol perform live. (This is the point where I gush) I started thinking of how inspirational Bernadette Peters is as a performer and how giving she is to the audience. She has had such a long, illustrious career and she could easily retire or focus on film and concert work, but she has given us all the gift of returning to the stage where I am certain that a whole new generation of theatre-goers are falling in love with her at every performance. As I watched Bernadette Peters in A Little Night Music, I said to myself, "I will never forget this performance," and I'm certain that I never will.

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.

Barbie's Showtune of the Day #11: The Ladies Who Lunch

A friend sent me this video today and I just had to post it. Elaine Stritch...what a broad! Her rendition of "The Ladies Who Lunch" from Company is classic Broadway. Many other women have performed this song but nobody can touch Stritch. Catch her onstage now in Sondheim's A Little Night Music at the Walter Kerr theatre, also starring Bernadette Peters.

Barbie's Showtune of the Day #10: Sunday

This is a performance of Stephen Sondheim's Sunday from Sunday in the Park with George. It is the finale of the 1993 concert "Soneheim: A Celebration at Carnegie Hall." This is also available on DVD form PBS' Great Performances series.

The Barbie Award for Acting a Song: Miss Bernadette Peters

Need I gush anymore about my idol Bernadette Peters? Yes, I think I must. I have always been a fan of Miss Peters' work, but it was not until I began to study classical vocal technique and my teacher pointed me toward Sunday in the Park with George as an example of acting a song that I began to truly respect her as an artist. Her portrayal of Dot/Marie in that show was unparalleled, and she was robbed of the Tony that year in my opinion. Those who have heard her in concert or on solo recordings know that she has a stellar voice, but what I admire about her the most is her ability to sacrifice vocal perfection for the sake of acting and character accuracy.

I had the pleasure of seeing her for the first time on Broadway this week in A Little Night Music (my formal review will come later) and from the moment she first stepped onto the Walter Kerr stage in the opening waltz, I felt tears stream down my face. Now maybe this was because I was a little starstruck and a bit enamored, but goodness does this lady have the ability to grip an audience. Now being a singer myself, I've idolized Bernadette for her vocal abilities, but interestingly enough,  I never once thought of her as a "singer" in this performance, but rather as an "actress." She only sings 1 and a 1/2 songs in the show, but even in those moments, the lyrics are about her character, Desiree Armfeldt, and not about notes or phrases. Her range is incredible, from sarcastic and funny, to terribly heartbreaking. Her Send In the Clowns is simply the best I have ever heard and not because of her voice, but because of her interpretation of Stephen Sondheim's lyrics. The pain felt by her character was so raw and on the surface and was evident in the raspy, shaky quality of her voice. Vocally pristine? No. True to the character? Absolutely. I have always loved the song for its lyrical and musical qualities, but I never truly understood the weight of it until I heard it from the mouth of this indelible songstress. I have never in my life cried so many real tears at a performance. This lovely evening of theatre is one that I will have to force myself not to see again, because as much as I would love to experience it again, I never want anything to cloud the memory of my first time. Thank you Bernadette Peters for restoring my faith and respect for the American musical theatre.

Bernadette Peters to Star in Kennedy Center's Follies

It was just announced today that Bernadette Peters will headline the upcoming Kennedy Center production of Stephen Sondheim's Follies as Sally Durant Plummer. As Sally, she will perform some of Sondheim's most beloved songs including the heartbreaking "In Buddy's Eyes" and "Losing My Mind." This truly is the year for Peters & Soneheim as she is currently playing the role of Desire Armfeldt in the current Broadway revival of his A Little Night Music. The original production of Follies opened on Broadway on April 4, 1971 and ran for over 500 performances. It features music & lyrics by Stephen Sondheim and a book by James Goldman. Hal Prince directed the original production Michael Bennett choreographed.

Other casting includes Kim Cattrall as Phyllis Rogers Stone, Danny Burstein as Buddy, and John Dossett as Ben. Peters and Dossett previously shared the stage in the 2003 Sam Mendes revival of Gypsy as Rose and Herbie. Danny Burstein is fresh off of his acclaimed run as Luther Billis in the recent South Pacific revival and will head into the new production of Women on the Verge of A Nervous Breakdown before rehearsals for Follies begin. Cattrall is perhaps best known for portraying Samantha Jones on the hit HBO series Sex and the City and the subsequent films, but she has enjoyed an extensive stage career on London's West End stages.

Tickets for this sure-to-be-wonderful production go on sale January 30th and the run begins May 7, 2011 and closes on June 5, 2011. Now I'm not one for starting rumors, but the last successful Kennedy Center production (Ragtime in 2009) transferred to Broadway and there is certainly a chance that this production, with its amazing source material and star-filled cast, could be Broadway bound. But regardless, what a great opportunity for DC theatergoers to see Bernadette Peters, a living legend, live onstage.

Ode to a Broadway Star: Bernadette Peters

As you all know, there are many, many performers that I respect and several women that I look up to as singers and actresses, but there are only three that I call my idols, and one of them is Miss Bernadette Peters. Yes she is a great singer and a phenomenal actress, but what makes her truly special is her charisma and her presence. She has more talent in her hair alone than most of today's Broadway performers could ever hope to have in their whole bodies. Elaine Stritch once said that Bernadette is like a modern day version of her close friend. the late Judy Garland, and I think that comparison is spot on. Both women are incredibly unique, both in their voices and their performance style. But most of all, Bernadette, like Judy before her, has the rare ability to break your heart and make you feel like you are on top of the world simply with the sound of her voice. I admire her for her range, her willingness to take risks with different characters, and for her commitment to preserving the art form that we all know and love as the American  musical theatre. While she has pursued a film and concert career, she will always be a Broadway Baby and one of our very own. In my opinion, she has no match in the musical theatre, and for me, she is the be all and end all.

Here are a few of my favorite examples of Bernadette as a performer, from the cute and sassy to the passionate, raw, and heartbreaking.

You Could Drive a Person Crazy, Sondheim's Company (Concert at Royal Festival Hall in London)

Not A Day Goes By, Sondheim's Merrily We Roll Along (Concert at Royal Festival Hall in London)

Rose's Turn, Gypsy (2003 Tony Awards) 


Time Heals Everything, Herman's Mack and Mabel (Concert at Royal Festival Hall in London)

Barbie's Showtune of the Day #8: Tell Me On A Sunday/See Me On A Monday

So I've often made my opinions of Andrew Lloyd Webber quite clear--I am completely aware that his music is less intellectual than other composers (cough Stephen Sondheim) and that he recycles melodies from show to show, but he does have some killer songs, at least in my opinion. One that I recently discovered was "Tell Me On A Sunday, Please" which Bernadette Peters performed in the Webber musical Song & Dance. While I didn't enjoy the show as a whole, this song really grabbed me. The lyrics really tell a story and the melody has an inherent emotional life that really struck a chord with me. When I attempted to find a video of Peters performing this song, I found a really funny clip from Forbidden Broadway, an off-Broadway cabaret-style show that spoofs popular musicals. This particular number pokes fun at the demands of Peters' role in the show, from Webber's penchant for long musical phrases that rarely allow the singers to take a breath to his tendencies to write notes that jump all over the map and leave the singers exhausted. I of course was not around yet when the show was playing in 1985/1986 but apparently it was a common occurrence for Bernadette to miss shows due to vocal strain and this song, "See Me On A Monday" plays heavily on that. While I think this video is hilarious, do yourself a favor and also listen to Peters singing the original track "Tell Me On A Sunday".

Barbie's Showtune of the Day #2: Rose's Turn

Bernadette Peters singing Rose's Turn at the 2003 TONY awards, enough said. The fact the Bernadette did not win the TONY for her portrayal of Mama Rose in Gypsy is, in my opinion, the biggest travesty in TONY history. Mama Rose is without a doubt the best role written for an actress in the musical theatre. Rose's Turn is a phenomenal song that explores such a range of emotion and this performance is simply electrifying.

A Little Night Music Reopens Today

I just had to post this video because I think it is a stellar representation of Peters and Stritch as people, not performers, and it also explains their process of coming into their roles.

The Queens of Broadway Are Back!

No, I am not talking about La Cage Aux Folles, I am speaking of Bernadette Peters and Elaine Stritch opening the second company of the current revival of Stephen Sondheim's A Little Night Music. These two dames of the theatre are finally returning to the Great White Way after several years on hiatus to do concert work. I did not see the first cast with Catherine Zeta-Jones and Angela Lansbury and I am so glad I waited (even though I love you Angie)! Tomorrow, July 13th, marks the Broadway debut of the Peters/Stritch tandem and I can only imagine it will be phenomenal. Bernadette will bring nuance, subtlety, and that glorious voice to the role of Desiree and Stritch will certainly perform a brassy, brazen rendition of the wheelchair-bound Madame Armfeldt. Based on video interviews, it appears that Stritch is most intrigued by the mother-daughter dynamic between the characters while Peters seems enamored with Sondheim's score and the way in which it gradually reveals its magic to the actors throughout the rehearsal process. Elaine Stritch's rendition of Liaisons will certainly be a highlight in the show and I am certain that Bernadette Peters' Send In the Clowns will be simply heartbreaking. This casting is the stuff of dreams, just ask any longtime theatre fan. It was wonderful that Catharine Zeta-Jones' starpower allowed this revival to make it to Broadway, and now that the production has had success, we can see it in the way it was truly meant to be performed, with two of the finest Sondheim interpreters of our time.