Broadway Quiz: Diva Digs

We love our Leading Ladies, don't we? We know their famous roles. We know their signature songs. We know their awards. But do we know where they had their biggest Broadway moments?

Broadway Quiz:

Diva Digs

DIRECTIONS: Answer each question about where these amazing women have played on Broadway. Good luck!

1. Angela Lansbury opened in Mame in which TWO theaters?

    A. Gershwin Theatre    B. Mark Hellinger Theatre    

    C. Winter Garden Theatre    D. Shubert Theatre

2. Patti LuPone has won three Tony Awards. She gave her award-winning performances in each of these theaters EXCEPT:

    A. The Vivian Beaumont Theater    B. The Broadway Theatre

    C. The Bernard B. Jacobs Theatre    D. The St. James Theatre

3. Caissie Levy is best known as a musical actress, but which theater did she open in a play on Broadway?

    A. Al Hirschfeld Theatre    B. St. James Theatre

    C. Longacre Theatre    D. Vivian Beaumont Theater

4. Betty Buckley made her Broadway debut singing "He Plays the Violin: in 1776. Which theater was that in?

    A. Lunt-Fontanne    B. Majestic Theatre

    C. Royale Theatre    D. 46th Street Theatre

5. Judy Kuhn was nominated for Best Actress in a Leading Role in a Musical three times. Which three theaters did these musical open in?

    A. Criterion Center Stage Right    B. Circle in the Square Theatre

    C. Broadway Theatre    D. Imperial Theatre

6. Audra McDonald won her first Tony Award for a show that played in which theatre?

    A. John Golden Theatre    B. Vivian Beaumont Theater

    C. Ford Center for the Performing Arts    D. Royale Theatre

7. Bernadette Peters opened in shows that played in all of the theaters EXCEPT:

    A. Samuel Friedman Theatre    B. Palace Theatre

    C. Royale Theatre    D. St. James Theatre

8. Rebecca Luker played Mrs. Banks in Mary Poppins, which played which Broadway house?

    A. New Amsterdam Theatre    B. The Lyric Theatre

    C. Gershwin Theatre    D. Lunt-Fontanne Theatre

9. Lea Salonga most recently appeared in Stephen Sondheim's Old Friends which played which theater?

    A. Circle in the Square Theater    B. Lena Horne Theatre

    C. Eugene O'Neill Theatre    D. Samuel J. Friedman Theatre

10. Sutton Foster has appeared in 14 Broadway shows (not including benefit performances). Which is the only Broadway theater that she played in more than once?

    A. Broadway Theatre    B. Minskoff Theatre

    C. Marquis Theatre    D. Stephen Sondheim Theatre    

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1. Angela Lansbury opened in Mame in which TWO theaters?

    A. Gershwin Theatre (1983)  C. Winter Garden Theatre (1966)

2. Patti LuPone has won three Tony Awards. She gave her award-winning performances in each of these theaters EXCEPT:

    A. The Vivian Beaumont Theater 

    (She was nominated for her role as Reno Sweeney in Anything Goes at the Beaumont.)

3. Caissie Levy is best known as a musical actress, but which theater did she open in a play on Broadway?

    C. Longacre Theatre

    (She opened there in Leopoldstadt.)

4. Betty Buckley made her Broadway debut singing "He Plays the Violin: in 1776. Which theater was that in?

    D. 46th Street Theatre

5. Judy Kuhn was nominated for Best Actress in a Leading Role in a Musical three times. Which three theaters did these musicals open in?

    A. Criterion Center Stage Right (She Loves Me)

    B. Circle in the Square Theatre (Fun Home)

    D. Imperial Theatre (Chess)

6. Audra McDonald won her first Tony Award for a show that played in which theatre?

    B. Vivian Beaumont Theater (Carousel)

7. Bernadette Peters opened in shows that played in all of the theaters EXCEPT:

    D. St. James Theatre

8. Rebecca Luker played Mrs. Banks in Mary Poppins, which played which Broadway house?

    A. New Amsterdam Theatre

9. Lea Salonga most recently appeared in Stephen Sondheim's Old Friends which played which theater?

    D. Samuel J. Friedman Theatre

10. Sutton Foster has appeared in 14 Broadway shows (not including benefit performances). Which is the only Broadway theater that she played in more than once?

    A. Broadway Theatre

    (Les Miserables and Shrek: The Musical)   

Review: Stephen Sondheim's Old Friends

Review of the evening performance on Saturday, April 26, 2025 at the Samuel J. Friedman Theatre in New York City. Starring Bernadette Peters and Lea Salonga, with Jacob Dickey, Kevin Earley, Jasmine Forsberg, Kate Jennings Grant, Bonnie Langford, Beth Leavel, Gavin Lee, Jason Pennycooke, Joanna Riding, Jeremy Secomb, Kyle Selig, Maria Wirries and Daniel Yearwood. Music and lyrics by Stephen Sondheim. Conceived by Cameron Mackintosh. Scenic Design by Matt Kinley. Costume design by Jill Parker. Lighting design by Warren Letton. Sound design by Mick Potter. Projection design by George Reeve. Choreography by Stephen Mear. Artistic consultant Julia McKenzie. Direction and musical staging by Matthew Bourne. 2 hours 45 minutes including one intermission.

By now, I'm sure many of his most ardent fans have already made their way to Stephen Sondheim's Old Friends. If you are one and you haven't, what are you waiting for? The self-described "Great Big Broadway Show" delivers in all the ways that matter; it's a greatest hits review, beautifully played and gorgeously sung. Have a friend who doesn't get why you love Sondheim's works? This may be the perfect show to introduce them to the best of the canon.

One of the many things that make this so winning is that it doesn't fall into the trap that many of such shows do: it doesn't try to connect the songs with any through-line. Save for a brief spoken introduction from our hostesses, there is no talking. Just song after gorgeous song.  And so rich is the material, even taken by themselves, no real context is necessary. A good portion of the numbers are simply interpreted versus being staged in any way. Each number speaks for itself. The choreography (by Stephen Mear) and the well-focused, often clever direction/musical staging by Matthew Bourne keep things moving briskly and with due reverence.

Still, there are several groups of numbers that are semi-staged. Matt Kinley's concert stage setting has some clever surprises, and designer Jill Parker's use of costume pieces (a red hood here, a bridal veil there) augment her stylish formal wear outfits. The whole piece is elevated by Warren Letton's pretty lighting and George Reeve's touching projections. 

You couldn't ask for a better band than The Sondheim Orchestra, a gifted ensemble with a huge, full sound under the careful guidance of Annbrit duChateau. Their gifts are particularly brilliant with their overture from Merrily We Roll Along, and their thrilling scoring of the West Side Story and Sweeney Todd suites of songs.

Of course, the success of any professional gathering of this type of revue surely rests on the shoulders of the casting - and this one is a tour de force from top to bottom, most with several Sondheim credits. Anyone worried that there isn't a new generation of his interpreters, need look no further than the youthful ensemble here. Standouts include Kyle Selig (a terrific Tony), Maria Wirries (gorgeous soprano) and Jasmine Forsberg (versatile character actress). Jacob Dickey fairly oozes suave charm and sex appeal in roles as varied as the Wolf, Judge Turpin, and George. 

Then there is the singular pleasure of seeing several actors known primarily for their West End credits, including the comic beauty of both Joanna Riding (a riot in the tongue twister number that is "Getting Married Today") and Bonnie Langford ( an impish delight in "I'm Still Here). Gavin Lee returns to Broadway tapping his way into our hearts with his rapid fire style that calls to mind Dick Van Dyke, and Jason Pennycooke is a devilish burst of energy each time he takes the stage, and Jeremy Secomb makes a chilling Sweeney Todd. One hopes that these British treasures will be back sooner rather than later.

Three Tony-winning ladies, though, make the entire evening worth it. Beth Leavel gives Elaine and Patti a run for their money with her droll take on "The Little Things You Do Together," and a blistering "Ladies Who Lunch." The first lady of Sondheim, Bernadette Peters, delivers with a poignant "Send In the Clowns" and a bittersweet "Sunday." While her voice is starting to show its age, her interpretation of "Losing My Mind" remains the gold standard, and her comic chops are razor sharp as evidenced by her hilarious take on Tessie Tura ("Gotta Get a Gimmick") and Little Red ("I Know Things Now/Bounce"). For my money, though, the star of the evening was Lea Salonga, who surprised me each time she took center stage. A solid, belty "Everything's Coming Up Roses," a rangy comic turn in both "The Worst Pies in London" and  "A Little Priest," and a deep, rich "Loving You," are but three of several brilliant moments she creates. Someone please get this woman a big vehicle for her take Broadway by storm all over again!

The double meaning of the show's title really sums up what this experience encompasses: the friends of Mr. Sondheim have gathered to pay tribute to the man's genius by singing the songs that for both composer and adoring audiences are indeed old friends. It is a perfect evening of musical theater heaven.

And, as always, thank you, Mr. Sondheim.

📸: M. Murphy 

2024 - 2025 Broadway Musical Logos: Sondheim's Old Friends

It all started with a one night only concert in London, which turned into a West End run. And now it is a Broadway musical. Of course, given its subject - the songs of the late, great Stephen Sondheim - how could it not make it on the Main Stem? And add two iconic, Tony Award-winning actresses above the title, a 6th (!) Broadway revue seems a sure thing!

2024 - 2025 Broadway Musical Logos:

Sondheim's Old Friends

Yesterday, the show played its first preview, and announced a two week extension, so perhaps the logo and marketing is besides the point. But I have to say I like it for several reasons.

I love the font and style of the main title and tagline. Mounted on what looks like an electrical sign hanging above a stage (and also like the lighted signs above many theaters in the theater district), the letters are Broadway-show bizzy-neon style, topped by Sondheim's famous signature also in neon light style. Could it be more theatrical? The title, of course, refers to the song from his Merrily We Roll Along, while the tagline, "A Great Big Broadway Show" refers to a like from his Follies classic, "Broadway Baby." Could it be more Sondheim?

The full logo design encompasses all of the above against an elegant, almost royal blue background. A smiling, joking Stephen Sondheim in his prime appears among the heavenly theater light beams, as if he's a part of the show. He begrudgingly approves, hands up in surrender. "Ok, celebrate me!" he seems to signal. 

In terms of advertising, it is smart to include images of the stars of the show, which let's us know at once that indeed, Broadway's best "old friends" will elevate the whole thing. It also lets Broadway fans who may not blindly adore all things Sondheim, that the great Bernadette Peters will be on hand, as will Miss Saigon fan favorite Lea Salonga. I suspect that as the show runs, other stars will be featured including Tony-winner (and big fan favorite) Beth Leavel.

Part of a long legacy of Sondheim revues and tributes, this one looks to stand out and its logo surely supports that notion.

Grade: A+

One That Got Away: Song and Dance

During the 1985-1986 Broadway season, my heart belonged to The Mystery of Edwin Drood, and I was interested in little else. Ah, the blissful ignorance of youth! I was still so new to the world of Broadway. That year, Bernadette Peters won the Tony Award for Best Actress in a musical, but I didn't really know who she was, or how important she would become in my ever-expanding theater fandom. The show was Andrew Lloyd Webber's Song and Dance, and I simply was not interested. 

One That Got Away:

Song and Dance

Then, Miss Peters left the show, and Betty Buckley, my beloved Edwin Drood, took on the role. Needless to say, I got a ticket as fast as I could! But it was not to be. My ticket - 3rd row center for the matinee on Wednesday, November 12, 1986 - was no good. The show closed the previous Sunday, and became my very first One That Got Away show. I'm still not over it.

As it turns out, I didn't exactly miss out on Song and Dance after all. The 1st National Tour came to Baltimore in the summer of 1987. It starred Melissa Manchester, and featured many of the Broadway company including Bruce Falco, Cynthia Onrubia, Scott Wise and Valerie C. Wright, plus Broadway regulars Mindy Cooper and Eugene Fleming. It was worth the wait! What a delightful story, and it has some of my favorite Lloyd Webber songs in it - "Capped Teeth and Caesar Salad," "Take That Look Off Your Face," "Unexpected Song," and "Tell Me On a Sunday." And the dance part of the show features the epic "Variations." So this one got away from me, but I caught up!

Song and Dance began previews at the Royale Theatre on September 4, 1985. After 17 previews, it opened on September 18, 1985. Following 474 performances, the show closed on November 8, 1986. Nominated for 8 Tony Awards including Best Musical, Best Score, Best Choreography, and Best Direction. Bernadette Peters won the Tony Award for Best Actress in a Musical.

Broadway in a Box CD Review: Into the Woods (1987 OBCR)

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 1987 Original Broadway Cast Recording of Into the Woods.

Broadway in a Box CD Review:

Into the Woods (1987 OBCR) 

I’ve been familiar with Into the Woods, and this CD in particular, for the majority of my life, so this is another one of those recordings that’s hard for me to evaluate from a fresh perspective. Rather than a review, I’ll just offer a few observations that came to mind while I listened to this OBCR once again.

Even from an audio recording alone, it’s easy to appreciate why some of the original Broadway performances remain legendary to this day. Bernadette Peters is at the peak of her game as the Witch; from moment to moment, she is fully in control of the volume and quality of her voice, which makes her perfect for a role that requires sudden and dramatic shifts in tone. Joanna Gleason is by turns funny, earnest, and heartbreaking as the Baker’s Wife, in all her complicated glory; it’s easier to see why she won the Tony Award, and why her successors have sometimes had a hard time competing with her achievement. Although it’s the women who really shine in this show, I’ll also mention Chip Zien as the Baker, probably the roundest of the adult characters, who does a terrific job with one of my personal favorite songs, “No More.”

A fresh listen to this CD reminded me of what a marvel the orchestrations are. Working with what has to be one of the smallest Broadway orchestras of his long career, Jonathan Tunick manages to wring out the brassy bravado of “Agony,” the seductive jazziness of “Hello Little Girl,” the poignant warmth of “Moments in the Woods,” and of course lots of catchy jauntiness throughout. Thanks to Tunick’s unique genius, this is one score that I don’t think would benefit from a significantly expanded orchestra.

Last year I read the pared-down version of Mark Eden Horowitz’s fascinating book Sondheim on Music, based on interviews between the author and composer. In the section on Into the Woods, Sondheim discusses what he calls the “bean theme,” noting that “the story is in a sense about the bean theme,” and encouraging the listener to “look below the surface and see how this theme is twined into the show throughout, and how it’s reflected in so many ways” (pp. 84-85).

As I re-listened to this cast recording, I took the opportunity to listen out for this theme, and it is definitely ubiquitous throughout the score. Some of these appearances are obvious if you pay a little bit of attention; the tune is the one that Rapunzel sings to herself, and it forms the backbone of several songs, including “Giants in the Sky,” “Stay With Me,” and “Moments in the Woods.” Other uses are more hidden; it can be heard several times in the accompaniment of the opening sequence. I readily admit that I would never have noticed the inversion of the theme in the melody of “No One Is Alone” if it hadn’t been discussed in the text.

The CD in this collection has three short bonus tracks, all from a demo recording for a proposed children’s version of the show. (I don’t know Into the Woods JR. well enough to tell whether these versions made it into the final product.) John Cameron Mitchell sings a slightly edited version of “Giants in the Sky” at breakneck speed, and it’s nice to hear this song performed by an accomplished singer not trying to sound like a kid. Kim Crosby (also Cinderella in the actual cast recording) sings a song called “Back to the Palace,” which is apparently an early version of “On the Steps of the Palace.” Maureen Moore sings the well-known cut song “Boom Crunch,” replaced by “Last Midnight,” but doesn’t quite have the expressive range to fully sell it.

Next up is the Music Theater of Lincoln Center Cast Recording of The King and I.

Hello, Broadway! Back Where They Belong

If January 14th was a bittersweet (and for some, apparently, "devastating") time on Broadway, the week following was one welcoming and downright celebration!

Over at the Brooks Atkinson, Sara Bareilles returned to serve more pie (and boost sales during the cold months) in her own show, Waitress.  For a few weeks, she and her fellow pop singer friend, Jason Mraz, will share the stage.  Is this a perfect recipe? Cha-ching!

Meanwhile, over at the Richard Rodgers, the cast that revolves almost as much as the set's turntable, welcomed a new title player, Michael Luwoye, who, like Sara in Waitress, returns to Hamilton on Broadway.  This time around, though, he's the principal AHam, not the alternate or understudy.

Of course, the biggest news of the week was the impending arrival of Broadway royalty, Bernadette Peters, the new Dolly at the Shubert. Show queens clung to every little bit of gossip, alleged sightings, rumors of her belting out numbers that could be heard buy ticket buyers lined up at the box office.  Heck, if you scanned Twitter closely enough, you could cobble together a letter by letter installation of her name on the marquee.  THAT's how much people are excited by Broadway's newest matchmaker from Yonkers. Poor Victor Garber (no slouch in the Broadway credits department himself), Charlie Stemp (cute Brit that he is!) and Molly Griggs, who also joined the cast to little fanfare...

Something producer Scott Rudin might want to reconsider going forward, is being so tight on press photos and the like. When the sole production photo hit the Internet, the immediate excitement was almost immediately couched by complaints that it was a rehash of a Bette Midler pic from the title number.  Still better than nothing, though - she looks FABULOUS!

These new arrivals offered a nice bump of excitement should get us through the next few weeks before the temperatures go up and the craziness of spring openings hits us like an annual tidal wave.  I can't wait for that...

(Photos: Getty Images, J. Marcus, J. Cervantes)