Monday, January 31, 2022

1960s Broadway Musical Show Art Tournament: Round 3!

It's the 1960s and the Golden Age of the American Musical is in full swing, though, by the end of the decade it is replaced by the Modern Era. What a time to be a musical theater fan! Award-winners, popular titles, classics and flops are all here. This week, you'll pick your favorites between each of 8 pairs in Region 3. Later, the winners will move on to The Big 32! 

As always, we thank you for playing along.

Scroll down to see the match-ups, then vote! (Be sure to look at the rules!) Thanks for playing along!

              WHAT IS THE BEST BROADWAY MUSICAL REVIVAL LOGO OF THEM ALL?   
THE 1960s BROADWAY MUSICAL
SHOW ART TOURNAMENT: REGION 3
(THE ACTUAL SURVEY IS BELOW THESE FULL-SIZED VERSIONS)
HOW IT WILL WORK:
  • Each week, we'll open the voting for a different segment of the bracket, and you will select your favorite from each pairing.
  • Your selection should be based on the logo/window card ONLY. We are NOT looking for your favorite show! It is possible to like a logo from an unsuccessful show!
  • We will provide pictures of the full window card (in most cases) or logo above each week's ballot, then you scroll down and make your selections. You MUST click/tap the "Click Me to Count Your VOTES" button at the bottom of the survey.
  • REMINDER: Due to the large number of images used, the poll will take a few extra seconds to fully load.
THIS ROUND WILL CLOSE ON FRIDAY, FEBRUARY 4TH AT 5 PM!

Here we go again! May the best logo win! BE SURE TO CHECK OUT THE FULL LOGOS BEFORE YOU VOTE! THE ACTUAL BALLOT IS BELOW THE FULL-SIZE LOGOS/WINDOW CARDS!

GAME 1:                                                                     GAME 2:
                         

GAME 3:                                                                     GAME 4:
                         

GAME 5:                                                                     GAME 6:
                         

GAME 7:                                                                     GAME 8:
                         


Friday, January 28, 2022

Broadway In A Box CD Review: Man of La Mancha (2002 Revival Cast)

At Christmas a few years ago, Jeff gave me a copy of Broadway in a Box: The Essential Broadway Musicals Collection. He has now given me the opportunity to use his blog to share my impressions of each of the 25 cast recordings contained in the set, in alphabetical order. 


This week’s entry is about the 2002 Broadway Revival Cast Recording of Man of La Mancha.


Broadway in a Box CD Review:
Man of La Mancha (2002 Revival cast)

My previous exposure to this musical has been limited to a Broadway revival from thirty years ago - when I was probably too young to appreciate it - and a very pallid local production, so I was very pleased to rediscover this collection of uniformly beautiful songs with concise, passionate lyrics. This recording, featuring artists who are up to the score’s considerable challenges, is definitely a rewarding musical experience.


I’ve always considered Brian Stokes Mitchell (in the obviously central role of Cervantes/Don Quixote) to have a voice that is powerful but can seem, for lack of a better word, a little distant. This makes him a perfect choice for a larger-than-life character like Quixote. His interpretations of legendary songs like the title song and “The Impossible Dream (The Quest)” are truly intense and thrilling, and even out of dramatic context they still manage to belie the noble self-deception inherent in the character. The overall effect is perfect.



Mary Elizabeth Mastrantonio
is almost as strong as Aldonza, with a voice that is lovely and full of character. Only once or twice, as in the final note of “It’s All the Same,” did I get the impression that her voice may be just slightly too low to be an ideal fit for the score. I would also add that, at least in her singing, she doesn’t draw quite as abrupt a distinction between fantasy Aldonza and prostitute Aldonza as Sheena Easton did back in 1992. But this is still an interesting and beautiful vocal performance, and these quibbles didn’t really do any harm.


The rest of the casting is equally solid and vocally quite varied, which is always a big asset when one is following a story from a cast recording. Ernie Sabella (Sancho) has a wonderfully rich comic singing voic; it was delightfully obvious that this is one of those roles that in retrospect we would call “queer-coded.” Natascia Diaz (Antonia) has a darker and deeper voice that contrasts nicely with Mastrantonio’s. Similarly, Mark Jacoby’s (Padre) simple but gorgeous delivery of “To Each His Dulcinea” makes for a nice complement to Mitchell’s more stylized voice.



The quality of the recording itself is outstanding. Every word from these intricate lyrics is crystal clear, even to someone like me who hasn’t heard them very often or very recently. The balance between the soloists, the chorus, and the musicians is perfect throughout; with the orchestra in particular, everything is vibrant: tutti outbursts (in the title song), tender musical moments (in the finale), little woodwind details (like the clarinets in “I’m Only Thinking of Him”), and of course the guitar that gives the score so much of its particular character. I would certainly be interested in seeing and hearing these songs on stage once again.


Next up is the Original Broadway Cast Recording of My Fair Lady. 

Thanks for such a thoughtful review, Mike! Fun fact: Man of La Mancha was my first musical. My Fair Lady was my second! Looking forward to your thoughts on that classic. --Jeff

Thursday, January 27, 2022

Broadway Games: Jeopardy!

Here's a game we haven't played in awhile! And while we are at it, congratulations @jeopardamy! You are so inspiring. See you at The Tournament of Champions!

You know how to play it. Good luck!

Broadway Games:
TOP HATS!

In this show, Joanne famously asks,
"Does anyone still wear a hat?"

This feline is the headliner
of Seussical

This kind of hat, worn by 
Ann Reinking, 
was made Broadway-famous by her mentor, Bob Fosse

Sondheim character who famously sings,
"Look, I made a hat."

This Broadway milliner wears
ribbons down her back.

Wednesday, January 26, 2022

REVIEW: Harry Potter and the Cursed Child (New Version)

Review of the Saturday, January 22, 2022 evening performance at the Lyric Theatre in New York City. Starring David Abeles, Aaron Bartz, Nadia Brown, Michela Cannon, Judith Lightfoot Clarke, Steve Haggard, 
Edward James Hyland, Jenny Jules,  Brady Dalton Richards, James Romney, Stephen Spinella and Karen Janes Woditsch. Written by Jack Thorne, based on an original new story by J.K. Rowling, Jack Thorne and John Tiffany. Music composed by Imogen Heap. Set design by Christine Jones. Costume design by Katrina Lindsay. Lighting design by Neil Austin. Sound design by Gareth Fry. Illusions and magic by Jamie Harrison. Movement direction by Steven Hoggett. Directed by John Tiffany. 3 hours, 30 minutes including a 20 minute intermission. Grade: A+

Having loved the original two-part experience - especially all of the magic - I was very interested in seeing how they condensed Harry Potter and the Cursed Child into a one-part adventure. In short, the new version is as delightful, and in some ways more so, as the original. Though I will attempt to #keepthesecret, I can't promise that I won't give something away. Playwright Jack Thorne and his collaborators have most notably excised a good deal of backstory (sorry Hagrid fans), and filled in some of the blanks with small amounts of exposition in the dialogue. By and large, all of the trimming and re-writing has tightened the same story and really sharpened its major themes, namely reconciling ones expectations of ones children, and the unintended consequences of ones actions, not only on oneself, but on future generations as well. Brought to the fore, and, as played at least, is also the bond of friendship and all of its consequences. Harry Potter has always been about friendship, but this newest version of the story also explores a far-reaching extension of deeper feelings, and yes, love between the two young men who are at the center of the action.


All of this was present in the original version, but the change in emphasis is clear. The young actors who portray Albus Potter and Scorpius Malfoy, James Romney and Brady Dalton Richards, respectively, have a near instantaneous and palpable chemistry. It is particularly interesting to watch them navigate these new feelings while still trying to come to terms with everything else that makes them feel like outsiders, notably the assumptions made about them because of who their parents are. Also impressive is that both actors have created new takes on established performers - no carbon copying here. Richards' way with being so unabashedly quirky while being completely unsure of himself, and Romney's brooding contempt for his father while being terrified to be himself are the perfect way to see why each would be drawn to the other. These roles were large to begin with, but in this version, these two carry the weight of most of the play on their backs, and it couldn't be in better hands. Watch for these fine actors in the years to come.


Winning performances from Nadia Brown as Ron and Hermione's people-pleasing, if somewhat bigoted daughter, and Michela Cannon as an ultra cool next generation Diggery round out the next generation of Hogwarts students. It was fun to watch Ms. Brown navigate the tricky road from adolescent snob to accepting young adult. Can't say much about Ms. Cannon's performance as I don't want to give anything away here, but I will say she was wicked fun from start to finish.

As the adult versions of the characters we all grew to love in books and movies, Steve Haggard (Harry), David Abeles (Ron), and Jenny Jules (Hermione), are an interesting trio. Haggard's Harry is crushed by the weight of expectation, and his anger over it is misdirected at his son; Jules' Hermione is at the top of her game, but as usual, struggles with the burdens of muggle-dom and always having to keep her friends on track; and Abeles' Ron is as lovably goofy and awkward as ever, but the strains of reputation, family and responsibility are heavy on him. All three play this very well, occasionally infusing some of the characters' beloved idiosyncrasies into their portrayal, much to our delight. However, it is when the they have the chance to be children again, that all three actors really soar - you can sense that they really enjoy this part of the story. And, in turn, seeing this side of them, makes their return to parenthood just that much more urgent and poignant.

Although portrayed as adults now, both Draco Malfoy and Ginny Weasley-Potter are a keen presence in this play, and both Aaron Bartz and Judith Lightfoot Clarke wisely do not rely on only giving us what we expect from them, instead carefully revealing themselves to be excellent parents. In fact, both actors make plain that often they are the only real adults in the room, which adds a delicious layer to things when all must unite at the end. Other beloved (and not so) characters are given fine performances as well: Stephen Spinella as both Snape and He Who Shall Not Be Named is both menacing and fun, and thankfully never campy. Similarly, Karen Janes Woditsch does double duty as McGonagall and Delores Umbridge; the former the sassy tower of strength, the latter, so wicked she actually was hissed by the audience! And Edward James Hyland garnered sighs of relief as he appeared in a painting as Dumbledore, wise, yet troubled, and rather forthcoming about his love for Harry - perhaps a hint that he knows his namesake's truest inner feelings for Scorpius, and wants Harry to acknowledge that?

The entire company (and I mean that in every sense of the word) is sharp and focused, and look to be truly enjoying taking us along for the ride. Not only do they all take on multiple roles, they dance, create magic, move scenery and set the stage in a staggering amount of formations. John Tiffany's tight, truly magical direction transports us gratefully to another world. Steven Hoggett's thrilling choreography to Imogen Heap's equally thrilling music remains a highlight. "The Wand Dance" is still a favorite of mine. We sat closer this time, and I hoped maybe I'd be able to see how some of the more elaborate illusions (by Jamie Harrison) were done, but no. Actually I'm glad - for three and a half hours, magic was real, and I needed that. All of the gasp-inducing elements are still there on Christine Jones' magic box set, under Neil Austin's ethereal lights, and swirling around in Katrina Lindsay's cavalcade of costume delights.

Cursed Child remains an entertaining delight, and I for one hope to return soon.

📸: J. Kyler, M. Murphy

Tuesday, January 25, 2022

REVIEW: Assassins

Review of the Sunday, January 23, 2022 matinee performance at the Classic Stage Company in New York City. Starring Adam Chanler-Berat, Eddie Cooper, Tavi Gavinson, Lee Harrington, Bianca Horn, Steven Pasquale, Ethan Slater, Will Swenson, Wesley Taylor, Brandon Uranowitz, and Danny Wolohan. Book by John Weidman. Music and lyrics by Stephen Sondheim. Scenic design by John Doyle. Costume design by Ann Hould-Ward. Lighting design by Jane Cox and Tess James. Projection design by Steve Channon. Direction by John Doyle. 105 minutes, with no intermission. This was the final performance. Grade: A++


NOTE: This was written before today's unfortunate announcement of early closing.

When we arrived at the Classic Stage Company theater, we were told to wait in line outside. Typical, until it got to be 1:45, and they wouldn't even let us in to pick up will call tickets. Then a Tweet from Judy Kuhn came where she announced she had Covid and would not be appearing in the show that day. Would the show even happen at all? At last, the line moved, and we got inside. We sat. We waited. Eventually, some of the actors appeared and were milling around, but looking... edgy. Now it was after 2:15 and the show still hadn't begun. Finally, the lights dimmed and the music started. 

Well, it took 32 years and three productions for me to finally see a New York production of Assassins, and boy, was it worth the wait. I rarely say this about any production - even my beloved favorites, but this revival was flawless. From the design to the casting to the John Doyle concept and direction it was utter perfection. A difficult, uncompromising and, yes, terrifying piece to begin with, this production made the show feel both timeless and eerily timely. Never before has it struck me so hard that we live in such a precarious balance between the seen and the unseen, the heard and the unheard. 

In the current social media age where anyone and everyone says and does whatever they have to to be recognized - where everyone who wants a platform can have one - it is a real gut-punch when you realize that despite all of that (or even scarier because of all that) people are still desperate to be heard and to get their "fucking prize." Have we ever been so close to a mass assassination before? Those questions and more are posed by this production, be it with Steve Channon's projections, or the frightening use of face masks as the company dons them to blend in with the rest of us. Here, industrial brick walls and steel beams collide with rustic barn style wood, and a sickening side show/carnival of red, white and blue lights beckons and warns of danger and risk. Doyle's stage design and the lighting created by Jane Cox and Tess James trap all of us - citizens and assassins alike - inside a surreal version of Americana. It chills me even as I write this, some days after being a part of it all. And, yes, I mean "a part of it all." The elements are so intertwined that the audience - American and not - are all a party to what is revealed.

The quadruple threat ensemblists (Brad Giovanine, Whit K. Lee, Rob Morrison and Katrina Yaukey) not only play instruments, but participate in a variety of roles and are as integral to the storytelling as any of the main characters, and in this version, they represent the "everyman" American quite well. This production also makes great use of the actors who play the proprietor (Eddie Cooper) and Emma Goldman (Bianca Horn) - both excellent in those roles, and a variety of others.

   

In the featured roles of Zangara and Hinckley, Jr.,
Wesley Taylor and Adam Chanler-Berat, respectively, excel at the odd quirks of their characters and exude an intensity that lingers as it permeates the room. Lee Harrington, rumored to be playing Sara Jane Moore for the very first time, was truly excellent; funny and scattered, she also gave a sobering hint that that can be a lethal combination not to be dismissed. As demented Santa suit-wearing Samuel Byck, Danny Wolohan delivered his multiple monologues with ever-increasing fervor. And Brandon Uranowitz's sullen turn as immigrant Leon Czolgosz gave a glimpse of the intersection of two major issues in today's society.  Collectively, each of these actors created characters that made for a sickening realization that people just like them live among us and are easily disregarded. 

   

Having seen the show at other local and regional productions, I can say that the two roles which uniquely stood out here did so in all the right ways, thanks to the perfect casting of two amazing actors. One of those, Will Swenson, I've had the pleasure of watching perform several times, and here makes a meal out the delusional Charles Guiteau, all impish grins, awkwardness and stunning self-absorption. He disappeared in this role. The other, Tavi Gavinson, is new to me, and I'm already looking forward to what I am certain will be a long, storied career from her. Other times, I've always felt that "Squeaky" Fromme was more a whiner and crazy loon. Here I felt drawn to her; her passion about what she was saying drew me in, and her presence, humorous at times, was oddly intoxicating and that is a troubling admission. What a pair of performances!

   

As much as this rogue's gallery is an ensemble piece, so much of it hinges on two roles - the one who started it all: John Wilkes Booth, and the last successful one: Lee Harvey Oswald. And here, both are embodied by actors giving masterful performances. Steven Pasquale's Booth is a frightening mix of pompous hilarity (he sees it all as a colossal joke) and cruel arrogance. Beautifully sung, and thrilling in its intensity, this is a pure star turn. Ethan Slater does a lot of the heavy lifting here as both the Balladeer and Oswald. With the benefit of having seen the whole thing, I can fully appreciate how Slater (and Doyle) uses his time as the narrator of the piece to insinuate himself into the other assassins' scenes, commenting, of course, but always with an amused but smug grin on his boyish all-American face. Somehow, that makes his transition into becoming a full-fledged member of a growing cult all the more powerful. Gone is the grin, replaced by a disturbing fury.

There is still so much I need to unpack from my mind. It raises as many questions as it provides answers. We are a sick country, full of people crying out to be seen and heard. Attention must be paid.

With news today of their cut run, we are so grateful to have experienced this superlative production. Bravo! And thank you all.

📸: J. Kyler, J. Cervantes

Monday, January 24, 2022

1960s Broadway Musical Show Art Tournament: Round 2!

And now a new journey begins! It's the 1960s and the Golden Age of the American Musical is in full swing, though, by the end of the decade it is replaced by the Modern Era. What a time to be a musical theater fan! Award-winners, popular titles, classics and flops are all here. This week, you'll pick your favorites between each of 8 pairs in Region 2. Later, the winners will move on to The Big 32! 

As always, we thank you for playing along.

Scroll down to see the match-ups, then vote! (Be sure to look at the rules!) Thanks for playing along!

              WHAT IS THE BEST BROADWAY MUSICAL REVIVAL LOGO OF THEM ALL?  
THE 1960s BROADWAY MUSICAL
SHOW ART TOURNAMENT: REGION 2
(THE ACTUAL SURVEY IS BELOW THESE FULL-SIZED VERSIONS)
HOW IT WILL WORK:
  • Each week, we'll open the voting for a different segment of the bracket, and you will select your favorite from each pairing.
  • Your selection should be based on the logo/window card ONLY. We are NOT looking for your favorite show! It is possible to like a logo from an unsuccessful show!
  • We will provide pictures of the full window card (in most cases) or logo above each week's ballot, then you scroll down and make your selections. You MUST click/tap the "Click Me to Count Your VOTES" button at the bottom of the survey.
  • REMINDER: Due to the large number of images used, the poll will take a few extra seconds to fully load.
THIS ROUND WILL CLOSE ON FRIDAY, JANUARY 28TH AT 5 PM!

Here we go again! May the best logo win! BE SURE TO CHECK OUT THE FULL LOGOS BEFORE YOU VOTE! THE ACTUAL BALLOT IS BELOW THE FULL-SIZE LOGOS/WINDOW CARDS!

GAME 1:                                                                     GAME 2:
                         

GAME 3:                                                                     GAME 4:
                         

GAME 5:                                                                     GAME 6:
                         

GAME 7:                                                                     GAME 8:
                         

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