Broadway Games: Name That Show! Hirschfeld: The Bob Fosse Edition

We were so fortunate to be around the theater scene when Broadway caricaturist Al Hirschfeld was alive and working. I remember checking out the Sunday New York Times any time a new show was about to open. His art accompanied many an article about the latest plays and musicals. It always amazed me how a few simple lines could capture not only the actors, but the essence of their performance and the show itself. 

This week's game is in honor of Mr. Fosse's 97th birthday last week!

Broadway Games:

Name That Show! 

Hirschfeld: Bob Fosse Edition

Here are Hirschfeld prints from several of Bob Fosse's shows. Can you name the show being portrayed?

1.

2.

3.

4.

5.

Bonus:

(If you know this one, you must be a Fosse expert!)

 

At This Theater: The Bernard B. Jacobs Theatre

Opening in 1927 as the Royale Theatre, the house was renamed the John Golden for a few years (the John Golden today is one door down now, of course), then back to the Royale for 65 years. That's the name on several Playbills in my collection. Then, in 2005, the theater was renamed for the longtime president of the Shubert Organization: The Bernard B. Jacobs Theatre. Home to the plays and musicals of many legends, the theater has hosted premieres of Thornton Wilder's The Matchmaker, and both The Glass Menagerie and The Night of the Iguana by Tennessee Williams, among others. Modern classics include 'night Mother, Cactus Flower, Who's Life Is It Anyway?, Speed-the Plow, Lend Me a Tenor and Art. Among the musicals that have left their mark are Grease, Hollywood/Ukraine, and a pair of Andrew Lloyd Webber works: Joseph...Dreamcoat and Song and Dance. 

  

  

Much like its neighbor, the Gerald Schoenfeld Theatre, there hasn't been a single performance I've seen there that I didn't enjoy. My first was A.R. Gurney's Sweet Sue starring Mary Tyler Moore and Lynn Redgrave, and most recently, the 2024 Best Musical Tony winner, The Outsiders. All told, I've seen 12 productions there. It is one of my favorite Broadway houses.

At This Theatre:

The Bernard B. Jacobs

Number of Shows We've Seen There: 12

      

      

      

The Shows We've Seen There:

13, Almost Famous, An Inspector Calls, Bloody Bloody Andrew Jackson, Company (2021), One Flew Over the Cuckoo's Nest, Once, Parade (2023), Sweet Sue, The Color Purple, The Outsiders, and Triumph of Love

Our Favorite Shows Here:

Of the even dozen, here are our six favorites. We loved each of them so much, it would be impossible to rank them, so here they are in alphabetical order:

Almost Famous: Here's a show I went into knowing very little about it beyond knowing that it was based on a beloved film that I had never seen, and it featured a score by one of my favorite composers, Tom Kitt. What a delightful surprise! I loved every single minute of it. And with it, I was introduced to some of my now-favorite performers like Casey Likes and Chris Wood, as well as reconnecting with other already favorites like Drew Gehling, Gerard Canonico and Van Hughes. I wish I'd have had the chance to see it again.

Company (2021 Revival): Marianne Elliott reinterpreted one of my favorite Stephen Sondheim shows/scores, and with a cast full of my Broadway favorites including Tony-winners Patti LuPone and Matt Doyle, as well as star Katrina Lenk. Then there's Etai Benson, Nikki Rene Daniels, Claybourne Elder, Christopher Seiber and Jennifer Simard. And it was an absolute thrill to be in the same room as LuPone singing "The Ladies Who Lunch."

Once: Much like Almost Famous, I went into this one knowing only that it was based on a small independent film. It took all of about five minutes for me to fall completely in love with the love story of Guy (Steve Kazee) and Girl (Cristin Milioti) and their pub friends. Creatively told and with a lovely score, I cried throughout most of it, most inconsolably during its signature song, "Falling Slowly."

Parade (2023): Michael Arden does it again, reinventing and reinvigorating modern classics in such a way as to make them feel brand new. After Spring Awakening and Once On This Island, I couldn't wait to see what he'd do with Parade. I was not disappointed. Ben Platt has never been better with a simultaneously powerful and fragile performance, and Micaela Diamond soared as the tower of strength that was Lucille Frank. Stellar performances from Sean Alan Krill, Paul Alexander Nolan, Howard McGillin, Alex Joseph Grayson and Jay Armstrong Johnson were truly an embarrassment of riches. 

The Color Purple: Here's a show we almost didn't see, but we have Audra to thank for our seeing this brilliant production. I had seen the original production and really didn't care for it, so we got tickets for Shuffle Along. But that day, Ms. McDonald was out, so we got a refund, and scored tickets for this instead. Turns out that John Doyle stripped it down, tightened it up, and assembled a company of actors up to the challenge. We saw the return of Heather Headley in a dazzling turn as Shug, and the supreme privilege of seeing the star turn of Cynthia Erivo - a true performance for the ages.

The Outsiders: I'm still reeling from the sheer theatricality of Danya Taymor's staging, the gritty design of every element, and the brilliance of the earthy and violent choreography of Rick and Jeff Kuperman. For me, though, it is the poetic and rich book by Adam Rapp and Justin Levine, and score by Jamestown Revival that elevated and expanded the already exquisite novel by S.E. Hinton. Then, too, there is the thrill of seeing a crop of new, exciting talent explode on the scene. I expect big futures from Brody Grant, Sky Lakota-Lynch, Brent Comer, Joshua Boone and Jason Schmidt to name a few.

REVIEW: Titanic

Review of the Saturday, June 22, 2024 matinee performance at New York City Center in New York City. A presentation of the Encores! series. Starring Ashley Blanchet, Adam Chanler-Berat, Chuck Cooper, Eddie Cooper, Lilli Cooper, Andrew Durand, Drew Gehling, Alex Joseph Grayson, Ramin Karimloo, Emilie Kouatchou, Judy Kuhn, Jose Llana, Bonnie Milligan, Ari Notartomaso, Nathan Salstone, A.J. Shively, Brandon Uranowitz, Samantha Williams and Chip Zien. Book by Peter Stone. Music and lyrics by Maury Yeston. Orchestrations by Jonathan Tunick. Scenic design by Paul Tate dePoo III. Costume design by Marion Talán de la Rosa. Lighting design by David Weiner. Sound design by Megumi Katayama. Conductor/music direction by Rob Berman. Choreography by Danny Mefford. Directed by Anne Kauffman. 2 hours 30 minutes, with one intermission. This production closed with the Sunday, June 23, 2024 evening performance.

"How did they build Titanic?" asks an awestruck Barrett, ship's stoker about to embark on the maiden voyage of the storied liner. One need only to have seen the stunning Encores! revival of the musical classic to understand how Peter Stone (book), Maury Yeston (music and lyrics) and Jonathan Tunick (orchestrations) built Titanic. This bare bones revival shows this piece off in all of its dramatic glory, unfettered by special effects and grand design.

That's not to say the design team was less than stellar. No, it is just the opposite. Determined to retain the early traditions of the Encores! series while maintaining the idea that the Ship of Dreams was just the vessel by which to tell a deeply human story, the team suggests the grandeur and keeps the focus where it should be: on the doomed passengers and crew of the largest floating object in the world. Paul Tate dePoo III's bi-level set allows for multiple scenes at once, and keeps the real star of the show - the music - in full view at all times. (The Encores Orchestra, larger than that of the original production, is marvelous under the baton of Rob Berman.) The costumes, designed by Marion Talán de la Rosa, suggest crew rank and passenger class with ease and elegance, just as David Weiner's simple lighting, featuring bars of light, conveys location, time and emotion. However, the designer that really stands out for me is Megumi Katayama, who allows us to hear every instrument, note and voice with a clarity one might expect from high end ear buds- no small feat given the cavernous space of the venue.

It is the ingenuity and care taken by director Anne Kauffman that takes this far beyond a concert staging, though. Where the company uses their bound scripts as props that suggest angelic choirs on occasion, and music stands represent stations on the ship's bridge, this style of presentation is fully integrated into the piece, making it feel natural. A main theme of the musical - and in real life - is that of social standing, and Kauffman subtly and powerfully stages the show to reflect that. With ship's officers arriving and departing the scenes in military-like formations, the crew generally and effectively relegated to the background until called upon, one understands immediately the rank and power structure aboard ship. The first class passengers are given the full stage and always a seat if needed, while the second class is given a sort of no-man's land of most of the stage, but always from the outside looking in, and the third class is given the least amount of stage, most often in tightly boxed configurations of set pieces, forcing them to find space to sit where they can, including the floor. Interesting how those set pieces, mostly long blue boxes, stand in as crew work benches, first class dining, and, poignantly, a lifeboat. In the final scenes, as all of the classes sit on the deck together awaiting their fate, death being the great equalizer, those boxes remain, unused and ominously in full view, coffin-like. The complete staging is a wonder befitting such a grand work and tribute to all of the survivors and souls lost in one of the world's greatest tragedies.

What an absolute privilege to be in the same room with this illustrious cast, a who's who of talent with careers spanning forty some years. To think that the ensemble alone counts among its ranks actors who have played Christines, Cosettes, Phantoms and any number of prominent roles in recent years on New York and West End stages tells you the level of quality here. Ensemble standouts include Ali Ewoldt (Phantom of the Opera), Evan Harrington (Avenue Q), Leah Horowitz (Follies, Les Miserables), Michael Maliakel (Aladdin, Kennedy Center's Sunset Boulevard) and Matthew Scott (An American in Paris).

 

The principal cast is impeccable. Andrew Durand (Jim Farrell, 3rd class), Lilli Cooper, Samantha Williams and Ashley Blanchet ("The Three Kates", 3rd class) bring an earthy optimism to the performance, particularly the lovely ode to the American Dream, "Lady's Maid." Blanchet also scores as the enigmatic Charlotte Cardoza, a woman who aims to get everything a man can get. A.J. Shively and Emilie Kouatchou (the Clarkes, 2nd class) are sweetly romantic and well-sung as the ill-fated engaged couple.

Broadway royalty Chip Zien and Judy Kuhn take on the emotional core of the piece in the roles of Isador and Ida Straus, 1st class, whose 11 o'clock duet "Still" nearly stopped the show. Soon to be Broadway royalty Drew Gehling and Bonnie Milligan as Edgar and Alice Beane, 2nd class, offer up many of the show's comic moments as she attempts to social climb, while he, completely smitten, tries to keep her in her place. Their separation in the final moments is a heartbreaking thing, while the Straus' resolve to remain together is equally sorrowful. Both couples had chemistry that reached the furthest rows of the theater.

 

Among the crew, powerful performances abound. As cabin boy and Fleet, lookout, Ari Notartomaso and Nathan Salstone, respectively, represent the bright future of live theater. Adam Chanler-Barat is quite touching as Murdoch, 1st officer, tortured by his own lack of confidence and paralyzed by the knowledge that his actions might have caused the sinking. Alex Joseph Grayson is duty personified as radioman Bride, and the incomparable Ramin Karimloo is no less than brilliant as stoker Barrett. Their duet, "The Proposal/The Night Was Alive with a Thousand Voices" was thrilling, as was Karimloo's solo, "Barrett's Song (The Screws Were Turning)." And watching the shrewd manipulation of the 1st class passengers by Steward 1st Class Etches (the delightful Eddie Cooper) was comedic and satisfying. 

Finally, as the trio in charge, Chuck Cooper (Captain E.J. Smith), Jose Llana (ship architect, Thomas Andrews), and Brandon Uranowitz (J. Bruce Ismay, Director of the White Star Line) create such a building tension that when things come to a head, it is an explosive reminder that their beliefs and machinations created the perfect storm of tragic inevitability. It is never more clear than when the three clash in "The Blame," and all sides must own a piece of the responsibility. Cooper's quiet resolve and acceptance of the captain's fate, Llana's manic desperation at Andrews' futile attempts to fix things even as the ship sinks, and Uranowitz's vivid portrayal of Ismay's maddening greed, lust for glory and ultimate cowardice, are a brutal encapsulation of all those things that have brought men down for centuries. Separately, each is at the top of their game; together, they are everything that makes modern musical theater a still potent art form.

And so it seems Encores! has returned to its roots of 30 years ago: infrequently produced classics with simple staging that emphasizes the music, book and acting. Its sheer size and the physical requirements practically demanded by audiences, makes Titanic the ideal production for this series, as we may never see something like this fully staged again.

📸: J. Marcus

The Friday 5: 5 Tony Awards Highs...and Lows

5 Things the Tony Awards Got Right...and Wrong

High #1: The Lifetime Achievement Awards Speeches

Both George C. Wolfe and Jack O'Brien gave thoughtful, insightful and humorous speeches. Humble and grateful, these gentlemen showed us exactly why they deserved this honor...and why they aren't finished yet.

Low #1: The Opening Number

You know I worship at the altar of Tom Kitt, and Amanda Green is right up there in my esteem, too. But this slog of an opening was bland and had the energy of a deflating balloon. I'm no dancer, but considering what Ariana DeBose did with last year's opener, I can't see why she was that out of breath.

High  #2: Kara Young winning Featured Actress in a Play

When we saw Purlie Victorious this past winter, I remember saying to Mike as we exited the Music Box that Kara Young was going to win the Tony for her mesmerizing performance. It truly was one for the ages. I know I'll never forget it.

Low 2: The sound & camera work

It was embarrassing, really. From the opening number, right through The Outsiders' rumble, each musical number felt like I was listening through cotton at best, from underwater at worst. And the camera work was just as bad. When the presenters were naming their respective nominees, the camera was so close to their faces, they looked like they were in carnival fish bowls. And when will they learn that cutting to close ups in most production numbers ruins the effect. Long shots and stand still! (I'm still nauseated from the Cabaret shenanigans.)

High #3: Danya Taymor's shocking victory

I (and pretty much everyone I know) was so sure Maria Friedman was going to win, I almost got up to refill my drink instead of watching. I'm glad I didn't! And I'm happy for Danya Taymor, and she did some amazing work bringing The Outsiders from page to stage. It was 100% theatrical in all the best ways. Gritty and real. And gold.

Low #3: Hell's Kitchen & Cabaret

I can't remember the last time a Tonys performance made me not want to see a show, but it happened twice this year. Cabaret is one of my all-rime favorite musicals, but what I saw on Sunday was overblown, self-indulgent and creepy for the sake of being creepy. Eddie Redmayne was ridiculous. Period. And then there's Hell's Kitchen, which was granted nearly twice as much time as every other show. It looked sloppy, was definitely off-key throughout, and didn't showcase its strongest asset, Maleah Joi Moon. I feel sorry for ticket buyers who think Alicia Keys and Jay-Z are actually in the show. 

High #4: The Chita Rivera tribute number

It was as moving and exciting as the great lady they were paying tribute to. I loved how each of her signature numbers from her greatest triumphs were instantly recognizable, and so beautifully rendered by the ensemble. 

Low #4: No mention of the earlier award winners

As if it wasn't already shameful that so many artists are relegated to the no-man's land of the "warm-up" show, but then not to mention any of them during the main telecast? What an absolute insult.

High #5: The "In Memoriam" segment

Tastefully presented with large, flattering pictures and names, it was lovely. And hearing "What I Did For Love" sung with such poignancy by Nicole Scherzinger was the icing on the cake. She's sensational.

Low #5: The shout-outs

When pre-show host Utkarsh Ambudkar did it the first couple of times, it was funny and felt clever. But giving shout-outs is a bit with diminishing returns, and ended up sounding like what it was: name-dropping to let everyone know he has Broadway connections, no matter how distant they may be - Freestyle Love Supreme counts, but not as much as, say, being in Hamilton. And besides that, were it me, I'd have pointed out that Anthony Ramos wasn't wearing a shirt, and then have asked, "why are you wearing a jacket?"

Bonus Friday 5: 5 Favorite Shows of the 2024 Broadway Season

(In alphabetical order!)

1. Appropriate

2. Illinoise

3. The Notebook

4. The Outsiders

5. Water For Elephants

On any given day, this list might also include Back to the Future (most fun), Days of Wine and Roses (most brave), Lempicka (most thought-provoking), Purlie Victorious (most uplifting) or Stereophonic (most on my mind since seeing it). So it looks like I really have 10 five favorite shows!