Friday 5: 5 as Good or Better Replacements

It seems that replacement actors are in the news a lot these days. There have been/will be several high profile role take-overs in the recent past/near future. John Proctor is the Villain has a new leading lady, as does this year's Best Play, Purpose. Chicago is a revolving door of newsworthy new faces. Just yesterday, Hadestown announced an upcoming complete change in principal roles (and I am definitely not missing them!). Heck, with Hamilton's 10th anniversary celebration, Playbill has showcased replacements (and understudies and alternates/stand-bys) of all the principal roles in a pair of pictorial essays. 

That same publication also ran an article about shows with new lead actors just last week (HERE). In that story, Andrew Gans recalls the time when Betty Buckley replaced Glenn Close as Norma Desmond in the original production of Sunset Boulevard following the latter's award-winning run. I've written about that very subject myself, as well as my love for the replacement cast of Kiss of the Spider Woman. That article got me to thinking about other actors who took over for acclaimed performances. And each of these were as good - maybe even better than - as the originals.

5 as Good or Better Replacements

(As good) Heidi Blickenstaff as Mary Jane Healy in Jagged Little Pill - originated by Elizabeth Stanley

Here's a no losers situation. Both Stanley and Blickenstaff were absolutely brilliant, and I am so thankful I got to see them both. On any given day (and hour?) I might say I prefer one over the other. But it's like asking a parent to choose their favorite child. I'd give anything to see them both again!

(Better) Sandy Duncan as Roxie Hart in Chicago - originated by Ann Reinking

From the moment she appeared, Ms. Duncan had the sold out Shubert Theatre audience eating out of the palm of her hand. She was mesmerizing: the full package of song and dance, comedy and drama. Her mess of blonde hair, her legs for days, and her megawatt smile made me want to shout, "NOT GUILTY!" What an unforgettable performance, with no trace of Gwen Verdon to be seen. (Ann was a legend, but she sure was like Gwen as Roxie.) 

(Better) Andrew Barth Feldman as Evan Hansen in Dear Evan Hansen - originated by Ben Platt

I've made no secret of my disdain for this show, and the title role's originator. And while my doubts about the property remain, Feldman's turn brought me to tears as I was thrilled by his raw, honest take that made me realize I was seeing the birth of a new star. Free of overacting and hyperbolic singing, this Evan Hansen was what he always should have been: a conflicted kid, in over his head and desperate to survive.

(Better) Michael C. Hall as the Emcee in Cabaret - originated by Alan Cumming AND (Better) Hedwig in Hedwig and the Angry Inch - originated by Neil Patrick Harris

Here's a two-fer for you! Maybe he's the 21st century's Best Replacement actor. He takes queer androgyny to new levels in this pair of roles. He was creepy and yet endearing, sinister yet sexy, bawdy yet oddly sincere as the Emcee. Over the years, I've gotten to see many takes on this role, including the OG, Joel Grey, and in this revival, Alan Cumming. But it is Hall's performance that mind keeps going back to.

Similarly, I've seen my share of Hedwigs, including Neil Patrick Harris and Darren Criss. Both were wonderful and brought different things to it, but it was Hall who impressed me the most. He was the only person I've seen don the wig and completely disappear. With the others, I never quite forgot that they were playing a part.

(Better) Karen Morrow as The Princess Puffer in The Mystery of Edwin Drood - originated by Cleo Laine

In the above production still, she's number 2 in the rogue's gallery from Drood. In what ended up being her final Broadway performance (to date, anyway), I had the privilege of seeing Ms. Morrow's legendary brassy delivery, her gasp-inducing belt and perfect comic timing. There's a reason she's a true Broadway (and film and TV) icon. If you've never heard of her, do yourself a favor and do some research. Proving just how rich Rupert Holmes' Tony-winning book and score is, she made the part completely her own, and not at all like that of Laine's star turn in the same role. And she was a perfect match for George Rose's Chairman and Donna Murphy's Drood/Datchery (another amazing replacement performance).

It has not escaped me that each of these replacements took over roles that were Tony-winning or Tony-nominated. I think that says a lot about both the original and the replacement.