At This Theatre:
The St. James: 1987-2011


Through the years, I've seen more different productions at the St. James Theatre than at any other Broadway house - 21! So, in order to give them their due for this series, I've divided it into two articles. Today, we'll cover the first ten shows we saw there, beginning in 1987, when we saw the original production of 42nd Street, which famously tapped its way across 44th Street to move across the street from the Majestic Theatre to make room for The Phantom of the Opera.
Over that nearly quarter of a century of shows, we got to see ground-breaking shows, record setters, hits and flops, Broadway legends and dazzling newcomers that became legends in their own right.
Number of Shows We Saw There (1987-2011): 10
42nd Street, The Who's Tommy, A Funny Thing Happened on the Way to the Forum, High Society, The Civil War, The Producers, Gypsy (2008), Finian's Rainbow, American Idiot, On a Clear Day You Can See Forever



5 Favorite Shows We Saw There (1987-2011): Not every show was great, or even our cup of tea. But here are five that really stood out as memorable even all these years later.
The Who's Tommy (1993): This production was amazing from start to finish! Loud, uncompromising, and visually stunning, it was unlike anything I'd ever seen on Broadway before. The effects - something somewhat new called video projection - supplemented the vivid colors and textures of the technical elements. And the cast was stacked, too, including such fresh faces as Alice Ripley, Sherie Rene Scott, Norm Lewis, and, in the title role, a guy named Michael Cerveris. The show has since been revived, but I don't think anything could match that first experience.
The Civil War (1999): The Broadway "it" composer of the mid to late 1990s was Frank Wildhorn, then famous for Jekyll and Hyde and The Scarlet Pimpernel. At the time, his most ambitious project was The Civil War, a revue of sorts, held together by the reading of letters written by and to union and rebel soldiers. A moving, glorious tribute to the sacrifices, bravery and sheer audacity of America's darkest hour. A blend of period sounding ballads, country music and rousing Broadway production numbers, Wildhorn's score was wide-ranging and bold. The entire production asked a lot of the audience, which I loved, and that probably caused its sadly quick demise. The enormous company included Michel Bell, Matt Bogart, Leo Burmester, Cheryl Freeman, Capathia Jenkins, and Beth Leavel.
Gypsy (2008): Before Audra changed the entire Gypsy game, there was the definitive Rose of none other than Patti LuPone, who seemed born to play the titan of all musical roles. Then there was the always delightful Boyd Gaines as her Herbie, and the absolutely devastating Laura Benanti as the titular Gypsy Rose Lee. All three won Tonys that year, but if you ask me, it was the audience that really won.
Finian's Rainbow (2009): Rarely produced for a variety of reasons, I snapped up the chance to see this show when it transferred from New York City Center's Encores! production. Enhanced from that previous incarnation, it was slightly revised to address its more problematic aspects. Overall, though, the show embraced its old-fashioned-ness, and delivered a quaint, endearing three hours' entertainment. The production starred some high quality vocalists, including Cheyenne Jackson, Kate Baldwin, Christopher Fitzgerald, Jim Norton, Chuck Cooper and Terri White. One has to wonder if the show will ever be done again, a relic trapped by its passe themes and lack of universality. Still, the Lane-Harburg score is a gem, with several standards. I'm really glad I didn't miss it.
American Idiot (2010): Here is the show that Mike absolutely adores - it is among his all-time favorites. He loves to remind me that I hated it the first time we saw it in early previews. He convinced me to return, and I loved it. What a thrill ride! Stunning imagery, edgy vocals and a powerful, cohesive score. I loved it so much, I saw it three times on Broadway, and twice on tour, including an overnight car trip to catch the premiere of the national tour in Utica, New York. Who'd have thought? And the original cast! What an opportunity! Seeing John Gallagher, Jr., Stark Sands, Michael Esper, Rebecca Naomi Jones, and new guy named Joshua Henry share the stage was something I'll never forget!
That span of 24 years gave us lots of memories. Not only the five shows above, but the other five as well. For instance, 42nd Street was a chance to see the gold standard of a dying breed of Broadway musical - glitz, glamor, snappy dialogue and a score full of tunes you left humming as your exited the theater. Forum gave us the chance to see Nathan Lane in his musical prime, and a fresh new talent, Mary Testa. High Society was largely forgettable, but a young girl named Anna Kendrick gave a performance that you knew was just the beginning of a long career. I never did see what the big deal was about The Producers. I really hated it, but it was great to see some favorites, nonetheless, like Matthew Broderick, Roger Bart and Cady Huffman. Then there was On a Clear Day... featuring the very definition of a "phoned in" performance by Harry Connick, Jr., though it introduced me to a new favorite performer, and the talk of the season, Jesse Mueller. None of these will ever make my favorites list, but each proves one of the greatest lessons I've learned about seeing shows: every experience in the theater offers something positive!
Look for part two of this article next Monday!







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