Broadway Quiz: 2016

Lately, there's been a social media trend where people post photos of themselves from a decade ago. Was it a simpler time? Was it a nostalgic time? I guess any time but now seems quaint by comparison. Personally, I can't believe the past decade has gone by so quickly!

Today's quiz is all about Broadway in the year 2016 - specifically shows that opened between January 1 and December 31, 2016. That covers the end of the 2015-2016 season, and the start of the 2016-2017 season.

Broadway Quiz:

2016

DIRECTIONS: Answer these questions about show that opened during the 2016 calendar year.

1. TRUE or FALSE: The Tony-winning Best Musical of 2016 actually opened in 2015.

2. TRUE or FALSE: The Tony-winning Best Musical of 2016 actually opened in 2016.

3. TRUE or FALSE: The Tony-winning Best Musical of 2017 actually opened in 2016.

4. TRUE or FALSE: A revival of the same musical opened in 2016 and will open in 2026.

5. TRUE or FALSE: Frankie Valli and the Four Seasons played a Broadway engagement in 2016, while the musical about them, Jersey Boys, was still running.

6. Ariana deBose left Hamilton to co-star in which 2016 musical?

   A. In Transit    B. Natasha, Pierre and the Great Comet of 1812

   C. A Bronx Tale    D. Shuffle Along

7. Current Death Becomes Her star Betsy Wolfe appeared in the original cast what show that opened in 2016?

   A. Falsettos    B. Waitress    C. Bright Star    D. American Psycho

8. All of the following are true about 2016 Broadway, EXCEPT:

   A. Cirque du Soleil opened a new musical on Broadway.

   B. Broadway's first fully a capella musical opened on Broadway.

   C. A Broadway musical closed early to accommodate a star's pregnancy.

   D. One new musical that opened in 2016 was deemed ineligible for the Tony Awards.

9. Which of these Tony Award nominees for Best Musical that opened in 2016 had a score by someone who had never written one before?

   A. Bright Star      B. Waitress    C. Natasha, Pierre and the Great Comet of 1812

   D. Shuffle Along    E. Disaster!    F. American Psycho    G. Tuck Everlasting

10. Which of these 2016 musicals had a pro-shot made that was also released to the public?

   A. School of Rock   B. Waitress    C. Falsettos    D. Holiday Inn

11. TRUE or FALSE: 2016 was the last year that had no jukebox musicals open on Broadway.

12.  TRUE or FALSE: American Psycho was Broadway's first show to officially have a trigger warning.

13.  TRUE or FALSE: Only some of the original Broadway cast of The Humans also appeared in the film version.

14. TRUE or FALSE: A Bronx Tale, which ran for 700 performances, is the longest running show to ever play the Longacre Theatre.

15.  TRUE or FALSE: The revival of She Loves Me that opened in 2016 at Studio 54 was the first Broadway revival of that classic musical.

BONUS: What actress is currently co-starring in a musical that is playing in the same theater where she made her Broadway debut in 2016?

CD Review: Hello, Dolly! (New Broadway Cast Recording)

In honor of the Divine Miss M's return to her Tony-winning role tonight, I offer my views on the cast recording she headlines.  I had the great fortune of seeing the original revival cast of Hello, Dolly! when it was fresh.  And while I know it was an event, and Ms. Midler was, as always, great to see, I wasn't thrilled with her Dolly. I never once forgot I was seeing BETTE MIDLER.  Don't get me wrong, I loved seeing her,and reveled in her greatness as a performer and bombastic personality. But she was Bette-saying-and-singing-Dolly, not being Dolly. The  costumes and scenery were a delight, as was Warren Carlyle's loving recreation tribute to Gower Champion's choreography. Most of the rest of the cast was also superb.  I left highly entertained and felt I had gotten my money's worth.

Grade: B-

Title: Hello, Dolly!

Artist: The New Broadway Cast 

Label: Masterworks Broadway

Number: 88985 40592 2

Format: Single CD

Case: Single Jewel Case

Booklet: Full color, 40 pages. Complete lyrics. Art direction and design by BLT Communications. Photo by Julieta Cervantes. Essay by Steven Suskin. Album produced by Steven Epstein.  Executive producer Scott Farthing.
Where you can get it: Amazon (currently $11.89 - includes a digital copy); iTunes ($11.99)

But, take away the scenery, lights, costumes and choreography, and you are left with just the cast and the orchestra.  And a new cast recording of a beloved American musical classic.  I pretty much have the same reaction to it as I did the show: it's a Bette Midler record with a side of Broadway brilliance.  Again, that's not a bad thing, necessarily. I mean, I have a few of her albums already, so why not add another?  

What I love about this recording:

• I love the gorgeous sound of the orchestra!
• I love the ensemble's vocal performance!
• I love that some of the dance music is included!
• I love Kate Baldwin. "Ribbons Down My Back" is so damned beautiful!
• I love every time Gavin Creel and Taylor Trensch do anything on this recording!
• And I love that Bette's in better voice than when I saw her live.

What I wish was better about this recording:

• I wish Bette played a character like everyone else on the recording.
• I wish there were more pictures. One??? Really???
• I wish it was longer. Full versions of all the songs would have been great. And how about a tad more dialogue?

What I could have done without on this recording:

• I hate "Penny In My Pocket." There's a reason they cut it back in 1964.
• I really don't care for David Hyde Pierce's performance here.  He was much better in person.
• I don't care for the feeling that the recording is so pristine and perfect that it feels sterile at many points.  It isn't the feel-good version of a feel-good musical.

When "The Best" Isn't Your "Favorite": Dear Evan Hansen vs Come From Away

Will you be found?

A couple of months ago, I wrote a column about the year the Best Musical was Hamilton, but my favorite show that season was American Psycho.  (Read it HERE.)

Who'd have thought that two seasons in a row the Tonys would honor a Best Musical wasn't my Favorite Musical? That's right.  I'm talking about the 2016-2017 Broadway season, and Dear Evan Hansen was the winner. It would have been at least my fourth choice - at least fourth because I didn't get to see Groundhog Day, A Bronx Tale, In Transit or Charlie and the Chocolate Factory, but I did see Amelie, which I liked more than Hansen.

Ah, Pierre! You are a close second!

The other two that I liked better than the winner were Natasha, Pierre and the Great Comet of 1812 and Come From Away.  It is a tough call as to my favorite of the two, as I admire them both so much. Great Comet was daring, ground-breaking and very entertaining. But the book/story is kinda thin, and the show is a triumph of style over substance. I reviewed Come From Away, giving it an A+ (HERE); I have rarely seen a so completely cohesive show.  So I give the edge to Come From Away.

Oh, Connor... more of you. Please...

I had the privilege of seeing Dear Evan Hansen during its off-Broadway run, with the cast about 15 feet away from me, for the reasonable price of just $69. If I'd paid what they charge for a comparable seat at the Music Box, I'd be very upset. Very. Even allowing for the small changes in the move between 43rd and 45th Street, I am certain my opinion wouldn't change. I really didn't like it. My reasons are many. First, the score is full of that whiny, self-involved teen pablum that teens today "identify" with.  All the feels and validation.  I'd be fine with that, since the show is about self-involved teens desperate for validation, but the problem is that it all sounds the same, and there is no variation for the grown-ups.  The lyrics come from the same "How to Validate Your Snowflake" handbook.  Second, I found Ben Platt's performance to be so overwrought as to be uniformly uncomfortable to watch. You could see him working up to a cry minutes before the tears spilled on cue - at one point he was so red and sweaty, I literally thought they'd stop the show because he was becoming too ill to continue. Finally, count me out of the sympathetic-to-Evan group. While I feel for his anxiety issues and being a social outcast (I could have been him in high school, so I can relate), he is also a liar, an ungrateful brat, and a user. Worst of all, he faces virtually zero consequences for his actions, which are more than likely actually criminal. I have several other qualms with the book - his classmates are despicable people, and Connor is woefully underdeveloped and even more woefully underused. And don't get me started on the "power of social media" angle of all this. (P.S.: The school shooter line needs to be cut.)

I'll be back to kiss that fish soon, I hope!

On the other hand, Come From Away, has a fat-free, action packed, emotional book.  The varied score (played by an amazing band) has an authentically Canadian feel - modern, yet folksy, Broadway, but not. And the staging is so amazingly intricate and yet so easy to follow. The performances are so perfectly executed and they gel together seamlessly.  If you know me at all from my history of reviews, you know that, if anything, feel-good shows have to be that much better to really earn my adoration.  This show does just that. Who knew that we'd ever be able to laugh at the events of 9/11? Or that we needed to?  But there you have it.

My favorite musical of the season was not the Best Musical two years in a row.  Will it be three?  I guess we'll see... if The Band's Visit loses, I may just lose my faith in the Tony Awards.

SIDE NOTE: Had I been reviewing shows when I saw them: Dear Evan Hansen (D) and Natasha, Pierre and the Great Comet of 1812 (A+)

REVIEW: Come From Away

Review of the Saturday, February 24, 2018 evening performance at the Gerald Schoenfeld Theatre in New York City.  Book, music and lyrics by Irene Sankoff and David Hein. Scenic design by Beowulf Boritt. Lighting design by Howell Binkley. Costume design by Toni-Leslie James. Musical staging by Kelly Devine. Direction by Christopher Ashley. 1 hour, 40 minutes. Come From Away is performed without an intermission.

Grade: A+

I'd heard great things about Come From Away from friends, and I'd listened to the cast recording a few times, but nothing truly prepared me for just how wonderful this show really is.

Our day started with a matinee of The Band's Visit, an equally wonderful production with similar themes, characters and plot. Strangers arrive unexpectedly in a small town in the middle of nowhere and the lives of all involved are forever transformed.  Both shows also share vibrant scores, on point staging, and the ability to make time stand still and fly by.  I was not alone in being moved by both shows for the same reason: both highlight the instinctive ability for people to accept, love and help each other when the going gets tough. Would that there was more emphasis on these themes in real life - we'd all be the better for it.

"Welcome to the Rock!" The Come From Away Company

Truthfully, the fact-filled book and lyrics by Irene Sankoff and David Hein breaks one of my cardinal rules for theater: it tells rather than shows. There are thousands of facts and people to cover, so it makes sense to a point. Normally, that wouldn't work anyway.  But in this case it does, and here's why.

First, in between the facts, there is equally revealing dialogue. It's one thing for the town cop, the school teacher and the counter girl at Tim Horton's to tell us what their daily routines are, but completely another to show us how those routines are immediately disrupted. And these facts help shape a timeline that we, some 16 1/2 years later, remember like it was yesterday. Surprisingly, knowing that timeline helped create real dramatic tension as we found out how other people lived through it.  There is a scene where all of the planes were finally flying after days on the ground. Watching these people's joy and sorrow as life was returning to a new normal made me think of where I was the first time I heard the planes again. I am certain I was not alone having these kinds of memories as the show went on.

Kiss the cod! "Screech In"

Second, there is a truly amazing level of acting going on here, with the entire cast playing several distinct characters, sometimes more than one each in a single scene or number.  This company is the true definition of "ensemble," and another reason why the Tonys need a Best Ensemble award.  It almost feels wrong to single any of them out, as they were uniformly fantastic at showing us distinct characters with changes to voice, accent, a different jacket or hat (costumes designed by Toni-Leslie James), but also with little changes to their eyes and in their physical reactions.  Still, I was moved by the dread and strength of Hannah, whose son was a fireman at the Towers, and played with such dignity by Q. Smith.  And I found great humor and appreciation for Bob, a jaded New Yorker who expected the worst from people but only got the best, and came away a changed man, played to perfection by De'lon Grant.  The quirky restraint and fiery passion of Gander's mayor was played with crotchety delight by Joel Hatch, while the pragmatic but warm and selfless teacher Beulah was brought to life by the thoroughly amazing Astrid Van Wieren.

The two central couples gave us people to root for - and it is to the show's credit that the way they end up was both inevitable and surprising.  Chad Kimball and Caesar Samayoa played the "gay Kevins," with nary a stereotype in sight (save for a self-deprecating joke or two) which was a breath of fresh air all by itself.  And there was Nick and Diane, complete strangers thrown together and falling in love when they both realized they each filled a need neither knew they had; John Jellison (a great understudy) and Sharon Wheatley had adorable chemistry from start to finish.

"Me and the Sky" Jenn Colella and the Female Company

It was Jenn Colella's acclaimed performance that I was most looking forward to, and she did not disappoint.  What an actress - more than an actress - a force of nature!  Watching her go back and forth between her school teacher Annette and pilot Beverley Bass characters was remarkable in its attention to detail; both women were strong in completely different ways, and Ms. Colella brought every nuance to vivid life. She and the female company provided a highlight to the evening with the revelatory and passionate anthem "Me and the Sky."

Finally, while the words may have done a lot of "telling," the masterful staging created a lot of opportunities for "showing."  Kelly Devine's musical staging was like watching the intricate jewels click into place in an ever moving kaleidoscope.  It boggles my mind how the company memorized all of the minute changes of position, lighting (by Howell Binkley)and furniture (scenic design by Beowulf Borritt) to create before our very eyes - and within seconds! - everything from a pair of school buses, to a jumbo jet, to a school room taken over as a shelter. And that doesn't even include the actual dancing. (I could watch "Screech In" - with that fish - over and over!)  Now having seen the show, I can completely understand Christopher Ashley's Tony win for direction. He keeps a tight rein on the proceedings, knowing smartly when to let the energy and the emotional content ebb and flow. We go from sorrow and confusion ("I Am Here"/"Prayer" - a beautiful number) to fear, confusion and anger ("On the Edge") to thrilling abandon and a joyful release (the aforementioned "Screech In").

The Come From Away Band

I love when a musical engages you in unexpected ways. Come From Away surprised me on a personal level. It never occurred to me how cathartic it would be to laugh at that horrific day in history. To revisit that life-changing time and smile, clap, and shed a few tears in such a communal way was an experience I'll never forget.  Oh! And when you go, be sure to stay for the post-curtain call where the band takes center stage and gives a mini-concert.  They are fantastic!

The people of Gander are heroes as much as any first-responders, giving selflessly in what must have felt like an impossible situation. I wouldn't mind going to The Rock and kissing a fish. To come from away to meet these people would be a real honor.

(Photos by M. Murphy)

Looking Ahead to 2018, Part I: Making Up for Lost Time

With 2018 now underway, it's time to start thinking about what I want to see in the second half of the current season. As it stands, I already have plans (*) to see as many shows in the next few months as I did in all of 2017. That really excites me!

Leftovers from the 2016-2017 Season:

*Come From Away - ever since I saw the cast perform "Welcome to the Rock" on the Tony Awards, I have been excited to see this show.  And I love Chad Kimball and Jenn Colella, which only adds to my desire. Of course, shows that portray the good things people are capable of in the face of adversity are just what these times call for...

*Sweeney Todd: The Demon Barber of Fleet Street - I'm always up for another helping of my favorite Sondheim musical. And up  close, intimate and immersive is one way I haven't seen this masterpiece yet.  I'm hoping this thriller will thrill me, no matter who's in it by the time I see it in February.

UPDATE: Looks like I'll be there for the final weekend of Carolee Carmello and Hugh Panaro!  I'm very excited!

The 2017-2018 Season Fall Holdovers:

*The Band's Visit - We were supposed to see this show at the Atlantic a couple of years ago, but that production was cancelled. From what I've read and heard, it will have been worth the wait.  David Yazbek has yet to write a score I didn't love, and this one is no exception.  And a performance of the year by Katrina Lenk is the icing on the cake!

*Once on This Island - With one of my all-time favorite scores and a staging by one of the most creative directors around today, I can't wait to make a trip to this Island!  Add to that, the chance to see three acclaimed Broadway debuts (Hailey Kilgore, Isaac Powell, Alex Newell) and three of my favorite Broadway veterans (Norm Lewis, Kenita Miller, Philip Boykin), and I'm super excited!!

UP NEXT: THE NEW SHOWS OF 2018

What are YOUR plans for the rest of the season? Take the survey at the top of the left column, and leave your comments below..  Thanks!

(Photos: J. Marcus, M. Murphy)

JK's Best Theater Experiences of 2017

While I was away from theater blogging over the past couple of years, life took me in a slightly different direction.  Still, my love for live theater never left me - and 2017 was no exception.  Granted, the last 365 days only afforded me the privilege of seeing 9 Broadway and off-Broadway productions and 1 National Tour.* But, boy, did I get a lot of bang for my buck!  Here are my best theater experiences for 2017:

Broadway 2017: Year of the Woman - and the men weren't too bad, either...:

LuPone and Ebersole in War Paint

This year afforded me the rare opportunity to have a true Diva Weekend of shows: in 2 days, I got to see Glenn Close, Patti LuPone, Christine Ebersole and Bette Midler! Will the stars ever align like this again?  I doubt it. And even though their respective shows varied in quality, there was never a moment where these ladies weren't true Broadway royalty. What an honor!

My Broadway year also included spectacular turns by several other of my favorite ladies: Amelie's Phillipa Soo, Pacific Overtures' Ann Harada, Sunday in the Park with George's Annaleigh Ashford (the first Dot to make me cry!), Hello, Dolly's Kate Baldwin, The Great Comet's Denee Benton (even better than the first time I saw her in 2016), and the always awesome Karen Ziemba and Emily Skinner of The Prince of Broadway.

This isn't to say that men weren't well represented in 2017. Not by a long shot. Amelie's Adam Chanler-Berat continues to be one of my favorite young performers, and there was the double-dose of excellence that was Sunset Boulevard and The Prince of Broadway's Michael Xavier, Sunday in the Park with George's Jake Gyllenhaal (the best George by far), Hello, Dolly's Gavin Creel and Taylor Trensch (who I hope to see in Dear Evan Hansen), and The Great Comet's Lucas Steele (even better than the first time I saw him in 2016).

Best Performance of a New Broadway Song:

Chanler-Berat, Soo and the "Booth"

Adam Chanler-Berat, Phillipa Soo and the Company performing "When the Booth Goes Bright" from Amelie
For me, the whole show was the most underrated, under-appreciated show of the year. I don't know about you, but I needed a romantic fantasy. Isn't there something to be said for a show this year that starts with a song called "Times Are Hard for Dreamers" and ends with "Where Do We Go From Here?" And this song moved me like no other in a new musical in 2017. Daniel Messe and Nathan Tysen are two writers I hope we here from again soon

Best New Performance of a Broadway Classic: 

One Dazzling Sally Bowles

Bryonha Marie Parham singing "Cabaret"
This Act One closer of The Prince of Broadway was a mouth-agape-can't-find-the-words stunner.  She was simply amazing. I'll just leave it at that.

Xavier, post-costume change

Honorable Mention: Michael Xavier singing "Sunset Boulevard"
A powerful performance that made this song a standout that it never was before.  Of course, it all started with entrance applause for a wet, bathing suit clad Xavier, and included a gasp-inducing costume "change." Nah. That helped. But the performance was amazing. The Tony nominators made a mistake leaving him off the list.

Best Return: Glenn Close as Norma Desmond in Sunset Boulevard

It's a Return... 23 years in the making

I enjoyed her in the original production, though I remember cringing a few times at her over-the-top take an an already over-the-top character. And though she still has not eclipsed my favorite Norma Desmond, Betty Buckley, the 2017 version she brought to the stage was powerful and heart-breaking. Close was absolutely right - the intervening years made for a deeper portrayal.

Best Legendary Performance: Bette Midler as Dolly Levi in Hello, Dolly!

3 Broadway Stand-outs

I have to admit that I never once forgot that I was watching Bette Midler instead of Dolly Levi, and normally that would be a deal breaker for me. But Bette being Bette is in a league of its own - and it is a fair argument to say that the role is ideally suited to the actress. The energy in the room combined with the 200% she gave every single second was an experience I'll never forget. To channel another Broadway legend, being in the room where a legend happens is rare indeed.

Best Replacement: Ingrid Michaelson as Sonya in Natasha, Pierre and the Great Comet of 1812

Denee Benton and Ingrid Michaelson

While it may seem like stunt casting (and maybe it was), it was worth bringing this fantastic performer on board. Her chemistry with Benton was palpable, and her "Sonya Alone" was dynamite. Maybe you could say she was just doing the job she was hired to do, but you could never accuse Michaelson of phoning it in. Case in point: when she was "just" part of the ensemble - and relegated to the farthest point from the stage in the rear mezz, she danced and sang with her whole body and soul. I was in the front row of the front mezz, and she was what I was watching. I'm sure we can all think of a "star replacement" who didn't give 100%.

Best Cast of 2017:

Metcalf, Houdyshell, Rashad and Cooper
A Doll's House, Part 2

And the above lists don't even include the stunning tour de force of the entire company of A Doll's House, Part II! If there was ever a case for a full cast Tony Award, this was it. Tony winner Laurie Metcalf earned every accolade she got, as did the always wonderful Jane Houdyshell, and the understated elegance of Condola Rashad. (Chris Cooper more than held his own, too...)

Best Technical Element: The Chromolume in Sunday in the Park with George

Beowulf Boritt's Chromolume

The view from the cheap seats at the newly opened Hudson Theatre is among the best on Broadway as it is, but I sure was glad to have been sitting up there for this show.  I felt sorry for everyone below me.  They missed out on an amazing spectacle!

And the Top Honor of 2017 goes to...

Best Theater-going Experience of the Year: The First National Tour of Fun Home:

Over the years, I had the opportunity to see the birth of this landmark production at The Public, and its evolution into a profoundly moving, exhilarating (and profitable!) Tony-winning Broadway musical. In the process, I got to see each Medium Alison, Small Alison and Helen (Michael Cerveris and Beth Malone were in every performance I saw), and even attended the emotional, triumphant final performance at Circle-in-the-Square.  So, if I'm being totally honest, I went into the National Tour with a bit of trepidation - could I go back to enjoying a proscenium staging? Could I appreciate a different Alison and Bruce? Turns out, I worried for nothing.  It was spectacular. Sam Gold took the best of his Broadway staging and blended it seamlessly with his Public staging. Kate Shindle proved to be a terrific Alison, and Robert Petkoff offered a touching take on Bruce.  And there was a lovely, heartbreaking Helen in Susan Moniz's mesmerizing performance.  And remember this name: Abby Corrigan. This Medium Alison is going to be a big star.

* Amelie, Pacific Overtures, Sunset Boulevard, Hello, Dolly!, War Paint, Sunday in the Park with George, A Doll's House, Part 2, Natasha, Pierre and the Great Comet of 1812, The Prince of Broadway, Fun Home

(Photos by J. Cervantes, J. Marcus, J. Pugiliese, B. Boritt, Getty Images)