When "The Best" Isn't Your "Favorite: The Producers vs The Full Monty

It was the 2000-2001 Broadway season, and we didn't know it, but the world was in the brink of changing forever. The fall of 2000 brought me one of my all-time favorite musicals; the spring of 2001 brought one of Broadway's biggest hits of all-time. Come Tony time, that mega hit swept the awards; my favorite went home empty handed.

I'm speaking, of course, of The Full Monty and The Producers. I saw both shows when they were brand new. I went into both shows cold, never having seen either movie on which they were based, though I enjoyed Mel Brooks' movie Spaceballs a lot. I knew more about the book writers of both (Terrence McNally and Thomas Meehan, respectively) than the composers. Monty had an unknown composer making his debut, a guy named David Yazbek, while Producers had Brooks making his first stab at music and lyrics for the Broadway stage.

If I ever needed to prove to anyone that Tony Awards have no correlation to my level of enjoyment, I would point to The Producers as an example. It is, to date, the Tony-winningest musical in history with 12 wins, a feat that not even the current phenomenon, Hamilton, could achieve. In fact, it lost only three, all cast members who lost to fellow cast members. Despite all of that award glory, I hated it. With a passion. There were some things I appreciated - namely the fast-paced direction and slick choreography of Susan Stroman, and the performance of Cady Huffman. She was luminescent, and those legs! (Even this gay boy noticed them...)

But everything else ranged from annoying...the constant mugging of Nathan Lane and Matthew Broderick...to boring...the never-changing level of low humor and spectacle...to insulting...racist, misogynist, anti-Semitic, ageist jokes (yes an old Jewish man can be those things), and the gay stereotypes were just...ick. Now understand this was years before #MeToo and being "woke," and I was that aware of it. I will cop to literally two laughs: one scripted - when a ceiling mirror revealed a kick line shaped like a swastika, mostly because it was clever and unexpected; one unscripted: Mathew Broderick messed up a line and Nathan Lane hit him with a zinger of a comeback, causing them both to giggle a little.

I did come away from the show feeling very good about one thing. I paid $38 for standing room. I got to see the "hit of the new century" for less than $40. The guy in front of me, sitting in the back row of the orchestra, paid more than $200 for less of a view. (The Producers has the dubious distinction of being the show that started Premium pricing.)

The show that I adored was the anti-Producers. The Full Monty was very funny, clever, had a message and lots of heart. It embraced the poverty-stricken, the aging, single dads, women's equality, body image and gay love. Again, this was years before #MeToo and being "woke," and I was that aware of it.

Sure, the promise of the full Monty in the finale might have gotten me in the door (and mostly for the will-they-actually-do-it curiosity and the if-so-how need to know, I swear!), but the show had me from the first notes of that weird "overture." The original cast had several established Broadway folk I was a big fan of, including Andre De Shields, Annie Golden, Kathleen Freeman and Emily Skinner. And, in retrospect, it was my first brush with several performers I've come to love, including Patrick Wilson, John Ellison Conlee, Romaine Fruge and Jason Danieley.

Being David Yazbek's first Broadway score, every number was like a new discovery. Right out of the gate was a word-play ironic number called "Scrap," followed by the one-two punch of female empowerment, "It's a Woman's World" and masculinity run amok in the aptly titled "Man." There's the now standard Yazbek naughty number full of double entendre, "Big Black Man," and the affection through humor of "Big-Ass Rock." I could write about every song; I love them all.

I really loved the organic nature of Jerry Mitchell's choreography and the sharply focused direction of Jack O'Brien. Watching the guys turn into actual dancers through basketball, or bonding over a funeral and furniture repossession was delightful. And I may have shed a tear or two.

I guess you can't say it was a failure - Monty ran for 770 performances, recouped, and did the actual full monty on national television! I miss it. How about a revival?


#2033

FLASHBACK FRIDAY: 15 Years Ago: Jane Eyre

Marla Schaffel and James Barbour

Jane Eyre, based in the novel of the same name, was the third of the four nominees for Best Musical 15 years ago that I've talked about.  What really sets this one apart from the others is that it really signaled the end (or at least the slooow death) of the epic musical so popular on Broadway the previous two decades.  It was even directed by one of the "greats" of that era - he had his hand in Les Miserables. Perhaps, it was the comparatively small scale of it.  Or the darkness.  Or that "new fangled" computer-generated scenery.  It also featured Marla Schaffel, who, at the time, was expected to become a huge Broadway and beyond star.  She hasn't been back since.

It wasn't a complete failure, I suppose.  It generated a cast recording and earned 5 Tony Award nominations - Best Book, Score, Actress in a Leading Role, Lighting Design and, of course, Best Musical.  It went home empty-handed, and closed one week later, on June 10, 2001.

36 previews, 207 performances at the Brooks Atkinson Theatre

Note the "new fangled" computerized scenery

Stars at the time:

• John Caird (Book, Direction) - He wrote and/or helmed two of the biggest hits in Broadway history: Les Miserables and The Life and Adventures of Nicholas Nickleby. Tony nomination: Best Book of a Musical.
• John Napier (Scenic Design) - Also a part of Les Miserables and Nickleby, he also designed Equus, Cats, Starlight Express, Miss Saigon and Sunset Boulevard.  This was his only flop. 
• Andreane Neofitou (Costume Design) - a Tony nominee for the original Les Miserables, she also designed the current revival, and... you guessed it... Nicholas Nickleby.

Jane and Rochester get emotional

Stars Were Born:

• James Barbour (Rochester) - Barbour had appeared in several shows prior to this one, but from here on, he took on other starring roles in A Tale of Two Cities and the revival of Assassins.
• Several members of the ensemble - Stephen R. Buntrock, Mary Stout, Bill Nolte and Jayne Paterson - have continued to have successful careers as replacements and show gypsies.

Was the artwork better than the show?

The 2015 Connection:
James Barbour (Rochester) - He's the current Phantom in The Phantom of the Opera.
Gina Ferrall (Mrs. Reed/Lady Ingram) - She's a standby in It Shoulda Been You.
Don Richard (Mr. Brocklehurst) - He was the Lizard Man and Tod Browning in Side Show.
Bradley Dean (Swing) - He was in both The Last Ship and Dr. Zhivago.  I saw him in the title role of the latter, and he did a nice job under difficult circumstances.

Next week: The BIG show of 15 years ago...

Jeff

Flashback Friday: 15 Years Ago: A Class Act

This week, I'll continue my look back at the Best Musical Tony nominees from 15 seasons ago.  Just as with  The Full Monty last week, this week's show was full of established Broadway professionals and newbies who would go on to make their mark.  And there are a few connections to 2015 as well.

A Class Act was a charming little show, and a must-see for Broadway fans.  Celebrating the life of composer-lyricist Edward Kleban, the musical used Kleban's trunk songs (and a few snippets from his most famous work, A Chorus Line).  There were some real gems, including my favorites, "Mona," "Paris Through The Window," "The Next Best Thing to Love," and "Under Separate Cover."  Kleban was the star of the show, as it should be.

30 previews, 105 performances at the Ambassador Theatre

Randy Graff and Lonny Price

Stars at the time:

• Lonny Price (Writer, Director, Ed Kleban) - An actor most notable for Master Harold and the Boys, and a pair of well-known flops, Rags and Merrily We Roll Along, Price was establishing himself as a writer-director. Tony nomination, Best Book of a Musical.
• Randy Graff (Sophie) - Broadway's original Fantine in Les Miserables, she won a Tony Award for her hilarious (and beautifully sung) turn in City of Angels.  She made her debut in the original production of Grease and went on to star in Laughter on the 23rd Floor, High Society and Moon Over Buffalo. Tony nomination, Best Actress in a Musical.
• Jeff Blumenkrantz (Charley) - Prior to A Class Act, he most notably starred in Damn Yankees and How to Succeed. Later, he went on to be a Tony-nominated composer for 2003's Urban Cowboy.
• Patrick Quinn (Lehman) - A Class Act would turn out to be the late actor's final Broadway appearance.  The Actors' Equity President previously appeared in such shows as Damn Yankees, Oh! Coward! and Disney's Beauty and the Beast.

The Company

Lonny Price and Sara Ramirez

Stars were born:

• Kevin Adams (Lighting Design) - Though not his first Broadway design, Adams would go on to be a 6 time Tony nominee and 4 time winner for Spring Awakening, The 39 Steps, American Idiot and Hedwig and the Angry Inch.  He was also nominated for Next to Normal and Hair.
• Sara Ramirez (Felicia) - Previously seen in a couple of short running shows - The Capeman and The Gershwin's Fascinating Rhythm - Ramirez would go on to win a Tony for Spamalot.  Now she's a TV star (Grey's Anatomy) and hasn't been back since.
• Danny Burstein (Understudy) - Though he had been in several Roundabout revivals prior to A Class Act, it was after this that he became one of Broadway's biggest and most loved stars, earning 5 Tony nominations in the process, for The Drowsy Chaperone, South Pacific, Follies, Golden Boy and Cabaret.

The Company

The 2015 Connection:

• David Hibbard (Bobby) - Currently in Something Rotten!
• Larry Hochman (Orchestrations) - Orchestrated this season's On the Twentieth Century, The Visit and Something Rotten!, for which he is Tony nominated.
• Adam Heller (Replacement) - Currently in It Shoulda Been You.
• David Loud (Musician) - Musical Director of The Visit.
• Stafford Arima (Associate Director) - Directing the upcoming Allegiance.

Next week: Jane Eyre

Jeff

Flashback Friday: 15 Seasons Ago: The Full Monty

There are a lot of similarities between the 2000 - 2001 Broadway season and the one just ended.  There are similar performers and creative types aplenty.  And it's fun to look back at where some of my favorites were in their careers 15 years ago, as well as seeing where some of today's stars got their start.

The first musical I'll look at was my personal favorite of the season, The Full Monty.  I still maintain that, despite the record-breaking number of Tonys The Producers won, history will show that the superior show was, in fact, Monty.

35 previews, 770 performances at the Eugene O'Neill Theatre



Stars at the time:

Andre De Shields and Kathleen Freeman

Emily Skinner and Annie Golden (center) and the ladies

• Emily Skinner - (Vicki) had Jekyll and Hyde, Side Show (Tony nominee), and James Joyce's The Dead on her resume
• Andre De Shields - ("Horse") had a lengthy Broadway career prior, including starring as the original Wiz in The Wiz, and Ain't Misbehavin'
• Kathleen Freeman - (Jeanette) probably most famous for many TV roles including appearances on The Lucy Show, and films including Singin' in the Rain.
• Jane Connell - (Jeanette) among her most famous Broadway roles were Gooch in Mame and one of the Countesses in Dear World; Connell joined the show first as a replacement during Freeman's vacation, and then again just about a month later following Freeman's unexpected passing
• Annie Golden - (Georgie) always a Broadway favorite, she had appeared in the revivals of Hair and On the Town, as well as Leader of the Pack

Stars were born:

Patrick Wilson (center) and the guys

• Heidi Blickenstaff  (Susan) made her Broadway debut in the show as a replacement/understudy
• James Moye made his Broadway debut in the show as replacement stripper Teddy Slaugher
• David Yazbeck (Composer-Lyricist) made his Broadway debut as composer-lyricist with the score for Monty; it was the first of three consecutive Tony nominations he's received for full scores 
• Patrick Wilson - (Jerry) Although not his debut, The Full Monty pretty much marked the beginning of his Broadway and subsequent TV career with a much-deserved Tony nomination.

The 2015 Connection:

Heidi Blickenstaff in Something Rotten!

Patrick Wilson, John Ellison Conlee and Denis Jones
in The Full Monty

• Terrence McNally (Book - Tony nomination) is a Tony nominee for his book for The Visit.
• John Ellison Conlee (Dave - Tony nomination) is the proud father (Celia Keen-Bolger, his wife, is the mother) of future Broadway star William Emmet Conlee, born April 29, 2015.
• Jason  Danieley (Malcolm) is a co-star in The Visit.
• Denis Jones (Buddy "Keno" Walsh) choreographed Honeymoon in Vegas.
• Heidi Blickenstaff (Susan) is a co-star in Something Rotten!
• James Moye (Teddy) famously went on for an ailing Peter Gallagher in On the Twentieth Century.
• David Yazbeck (Composer-Lyricist) wrote the original music for Fish in the Dark.
• Howell Binkley (Lighting) designed the lighting for Honeymoon in Vegas, Doctor Zhivago and Hamilton.

Next week: A look back at A Class Act and Jane Eyre.

Jeff