Friday 5: 5 Broadway Stars on Vintage TV: That Girl Edition

Like most Broadway fans, we love seeing our stage favorites on TV. Shows like Law and Order (all versions!), Blue Bloods and The Gilded Age are a treasure trove of star sightings. Back in the day (and I'm showing my age here), lots of shows, like The Carol Burnett Show and Laugh-In featured stage stars because they were a prominent part of popular culture.

I've recently become obsessed with a 60's show, That Girl, starring Marlo Thomas and Ted Bessell (both of whom have Broadway credits), which was the story of a young woman, Ann Marie, who moves to New York City to pursue an acting career. Over the 5 seasons, she got and lost roles on and off Broadway, commercials, modeling and TV shows. And, of course, along the way she rubs elbows with a ton of celebrities. Milton Berle, Sid Caesar (Little Me), Ruth Buzzi (Sweet Charity), Alan Oppenheimer (Sunset Boulevard), Marlo's dad, Danny Thomas, Rob Reiner, Penny Marshall, Teri Garr, Dabney Coleman and Jane Connell (Mame) are among the stars of stage and screen that showed up at Ann Marie's walk-up apartment over the years.

5 Broadway Stars on Vintage TV:

That Girl Edition

Here are 5 that made the biggest impression on me:

5. Barry Sullivan (Season 3, Episode 1: "Sock It to Me"): In this episode, Ann gets a chance to replace an ailing actress in a Broadway show, opposite Sullivan (he played himself). Her part requires her to slap his face, something she can't manage to do until she's in front of an audience. She slaps him so hard, she knocks him out!

Sullivan had 10 main stem credits making his debut in I Want a Policeman (1936), with his final appearance in Too Late the Phalarope (1956).

4. Bonnie Scott (Season 1, 19 episodes): She played Ann's neighbor and best friend in the first season. (A conceit of the show is that she gets a new neighbor and best friend each season.) A funny voice and a heart of gold made her one of the series' most endearing characters.

Scott only appeared on Broadway in two shows, but one of them was a doozy! She was the original Rosemary " Happy to Keep His Dinner Warm" Pilkington in How to Succeed in Business Without Really Trying!

3. Richard Dreyfuss (Season 1, Episode 22): He played one of Ann's college acting cohorts, moonlighting as a waiter in a bar. He's eccentric and over-the-top, traits that Ann's father finds annoying at best.

More famous today as an Oscar-winning movie star, Dreyfuss has four Broadway credits, starting with 1969's But, Seriously... and most recently in 2004's revival of Sly Fox. He's also the only one on this list is also a character in a play, The Shark is Broken.

2. Lew Parker (Seasons 1-5, 63 episodes): Speaking of Ann's father, Parker was the perfect uptight nemesis for Donald, Ann's boyfriend. In a pair of episodes, he spars with Ethel Merman, which is full of fun Broadway Easter eggs. At one point, he tells her he saw her in Girl Crazy, a show that they were in together in 1930!

Parker made his debut at the age of 18 in 1928's Rainbow and made his last appearance in the 1972 revival of Forum as Senex.

1. Ethel Merman (Season 2, Episode 1: "Pass the Potatoes, Ethel Merman" and Season 2: Episode 21: "The Other Woman"): Speaking of the Merm, she plays herself with a wicked sense of humor about herself. In the first of two appearances, Ann is cast in a Lincoln Center revival of Gypsy, but is so star struck she struggles to perform. Soon enough, Ethel sets her mind at ease when she joins Ann and Don for dinner at Ann's apartment, and cooks her specialty, stuffed cabbage. In that episode, Ether sings snippets of "Small World," "There's No Business Like Show Business," and, of course, "Everything's Coming Up Roses."

In the second episode, Ethel runs into Ann, Don and Lew at what's supposed to be, I think, the old Carnegie Deli. When a gossip columnist prints an item that says Ethel and Lew are dating, Ann's mother leaves her husband. Seeking closure, Mrs. Marie shows up backstage at Ethel's TV special to hear the truth. Hijinks ensue.

One of the great pleasures of watching this series is also the exterior shots of the mid-late 60's theater district. Sardi's makes an appearance, and it is cool to see 44th Street, when Hello, Dolly! played the St. James, and Mimi Hines as in Funny Girl across the street. In another episode, Ann and Don have a scene outside the Winter Garden with a full shot of the marquee of Mame with Angela Lansbury and Bea Arthur. Ann's actual Broadway debut happens at the Empire Theatre, a venue that no longer exists.

One of the great debates online have to do with the show intro, which features a rapid fire montage of Broadway marquees. Cabaret, The Star Spangled Girl and Cactus Flower are clear as a bell, but the shot of the Booth Theatre marquee is so fast, you can't tell what show was playing there. What was it??

The show is still funny and so great for theater fans who seek actual theater history! All 5 seasons are on Peacock.

Fosse/Verdon: Episodes 7 - 8

Sure, it was soapy, but the musical theater nerd and Bob Fosse fanatic in me loved every single minute of the miniseries Fosse/Verdon. And I am sad to see it go. I'll especially going to miss watching the marvel that is Michelle Williams, who better get an Emmy for her efforts. Hers a performance far beyond a mimicry of the beloved Tony winner, but rather a fully realized character. Also - it is time for her to return to Broadway, in a musical, please.

And so, here are a few thoughts on the last two episodes.

EPISODE 7: "Nowadays"
The episode every fan of Chicago has been waiting for! Interesting to watch (however compressed events were for dramatic effect) how Gwen got her way in finally getting the show on, and how Fosse punished her for "forcing" him to do it after years of badgering him about it. That cycle of satisfaction for one/pain for the other - a common theme in their relationship, apparently - is perfectly encapsulated, as he takes away dance steps in "We Both Reached For the Gun," (featuring a terrific Tyler Hanes as Jerry Orbach.  And later how he kicks her when she's down - hiring Liza Minnelli to replace her while she was out of the show. The wordless scene of Williams returning to her dressing room, tearing a note from Liza off her mirror and just staring at herself was beautifully understated.

Best sequence of the episode: Kander, Ebb, Rivera (an exquisite Bianca Marroquin), Fosse and Verdon gathered around the piano in the 46th Street Theatre lobby, with Gwen singing a wonderful solo version of "Nowadays." After an argument, Fosse tells her it will be a duet, and she really lets him have it. You go, Gwen!

Also, I love, love, loved the recreation of the original Chicago sets by Tony Walton and Jules Fisher's lighting design. I never realized how much I missed color in that show!

EPISODE 8: "Providence"
Just as it began, so did it end, with Sweet Charity. This time, it's the '86 revival/'87 national tour, but the roles are the same. Bob is a taskmaster perfectionist, and only Gwen can get it right. But before that, we saw the making of All That Jazz, hurtfully copying a cherished memory for his daughter, and humiliating his ex-lover. As the show guided us toward its inevitable conclusion, we see lives in turmoil and lots of unhappiness. Friends die, lovers leave and start families far away. And a daughter descends into the abyss of addiction, unchecked, it would seem, by either parent.

Best sequences of the final episode: When Nicole joins her dad in choreographing "Mr. Bojangles," and that same sequence played out with a young actress and Roy Scheider  (cameo by Lin-Manuel Miranda, of course...). Then there's the recreation  of the "Bye Bye Love" scene from All That Jazz, where Bob does a take at the urging of his cast.

The final moment, when Bob dies in Gwen's arms is as poignant as it is touching. Michelle Williams and Sam Rockwell do wonderful work here. A great ending to a wonderful miniseries.

#2087

FOSSE/VERDON: Episodes 4 - 6

Bob Fosse, Nicole Fosse and Gwen Verdon

As the FX miniseries Fosse/Verdon continues, I admire the show more and more, and I am completely smitten with the brilliant Michelle Williams. I've always been a big fan of Bob Fosse - I think of him in the same terms as Stephen Sondheim, which is to say I think he was a genius who was way ahead of his time. Challenging expectations, boundaries and decency was his stock in trade. All one needs to do is look at the revival of Chicago to see that he did all that before anyone else did, and his work (and that of his protege, Ann Reinking) is as relevant today as ever, if not more so.

These next three episodes are definitely more Fosse-centric. SPOILERS AHEAD.

EPISODE 4: "Glory"
So far, this is my favorite episode. Both the story's drama and theatrical presentation are exciting, as life parallels art. The art is the making of one of my favorite shows, Pippin, with an emphasis on the creation of the signature "Manson Trio" section of "Glory." It is also our first glimpse of Ann Reinking (a striking Margaret Qualley), and a pretty blunt examination of Bob's womanizing, drinking, drugging and fornicating. All of this is set against the pinnacle of his career - 1973, year of 1 Oscar, 2 Tonys and 3 Emmys. Talk about glory... But, as is often the case, all of the accolades aren't enough, and depression and thoughts of suicide ensue.

The best sequence of the episode is the end, when Pippin's grand finale turns into Fosse's. It is thrilling and chilling. And I'll never look at Pippin the same way again.

EPISODE 5: "Where Am I Going?"
Fresh out of the psych ward and putting up a massive front, Fosse has gathered friends and family to the Hamptons for a getaway weekend. Under the guise of a healing vacation for a mourning Neil Simon (the terrific and underused Nick Corddry), it soon turns into an intervention, with Bob's wife and mistress arguing for him to slow down, and his best friends, Simon and Paddy Chayefsky (a wonderful turn by Norbert Leo Butz) resigned to the fact that Bobby will do what Bobby wants regardless of the consequences.

Best sequence of the episode... there are actually three: Gwen's soliloquy about why making a movie is bad for his health, but doing her project, Chicago, is just what the doctor ordered. Then there's the delicious exchange between Gwen and Ann who make up and join forces to keep an eye on their guy. And finally, when Williams delivers a beautiful "Where Am I Going?' from Sweet Charity. I love how these songs are inserted throughout to inform the story and characters, fitting in pretty perfectly without changing a word.

EPISODE 6: "All I Care About Is Love"
This time around, the story is told through the concept of the film "Lenny." (It also reminds me a lot of All That Jazz, which makes sense.) Several sequences of time-jumping fast film cuts reveal a lot about what makes Fosse the mess of a man that he was. With child sex abuse, a rotten father and ridiculous mother, and many people in his life telling him "no" and that he's not good enough all far outweighing the positives, it is really no wonder. We also get to see the complexity of the Fosse-Verdon-Reinking relationship - confusing for the child caught in the middle, and both women, especially Reinking, who is realizing she's the one offering a get well lay, and still has to sit out in the hallway waiting.

Best sequence of the episode - the saga of Chicago's first rehearsal, including "All That Jazz" choreography and Chita Rivera (Bianca Marroquin), all leading up to Bob's showstopping heart attack. You read about it, but seeing it plated out is something different altogether!

#2078

Fosse/Verdon: The First 3 Episodes

WARNING: THIS ARTICLE CONTAINS SPOILERS FOR THE FIRST THREE EPISODES OF THE SERIES.

I've had a thing for Bob Fosse and Gwen Verdon since almost the beginning of my lifelong love of musical theater. It all started with a framed copy of the original Broadway poster from Sweet Charity, a gift to my high school drama director from the cast of their production of the same show a couple of years before I arrived. I was so taken by the pose of Verdon - hip strut, knee bend, flexed foot...and the look on her face. I was smitten and had the cast recording the first Saturday after I saw it. Then we did Pippin. Immersed in the Fosse frame of mind, practicing our best jazz hands, life was all about The Manson Trio for 4 months.

So, you can imagine my reaction when Fosse/Verdon was announced. "Fan girling" doesn't even come close. So far, I'm happy to say I am thrilled with the result. Where to start?

EPISODE #1: "Life is a Cabaret"
The nonlinear presentation of events heightens the drama and relieves the series of the burden of a documentary feel. Instead, while we see events depicted, Bobby and Gwen (and their host of famous friends and conquests) are treated like characters. In that sense, knowing anything at all about the subject isn't a requirement. That said, I can't imagine people not already interested in musicals, musical films or musical stars would enjoy this. Even so, there is a nice balance between plot and insider/meta moments. Of course, I loved the passing comment from Hal Prince about Company. And seeing them function in real world settings with the likes of Neil Simon and Cy Feuer is a treat for the theater geek in me.

Knowing that Fosse was a highly sexual, meticulous bastard of a genius who cheated on Verdon is one thing. Seeing it played out is another - and I don't mean in that All That Jazz kind of way. Somehow, even knowing this is a fictionalized/autobiographical hybrid, it fills in a lot of the blanks. As portrayed here, he's not really a bad guy - a bastard, sure, but not totally bad; she is not a victim exactly, either - I pity her, sure, but I admire her strength.

My favorite sequence has to be the entirety of the Cabaret filming of "Mein Heir," especially given Kelli Barrett's dynamic performance as Liza Minnelli. I also got a kick out of the canning of a dancer during the "filming" of Sweet Charity's "Big Spender."

EPISODE #2: "Who's Got the Pain?"
Here we see the juxtaposition of their break up with their first meeting over Damn Yankees. This works especially well with the "rehearsal" of the cat and mouse game that is "Whatever Lola Wants" paired with his seduction of her, and again when they get "stuck" and create "Who's Got the Pain?," a rather pointed parallel with their marital struggles. It works beautifully.  It's also a great way to introduce a recurring theme in his work and his life - using his signature style to save that day after a deep dive into self-loathing and paralyzing insecurity.

Of course, the evolution of this number is excellently recreated, and I know I'll never hear or see it the same way again.

EPISODE #3: "Me and My Baby"
There wasn't a lot of "performing" in this episode, but I really loved it. The opening tribute to his work on How to Succeed... to "Wilkommen" is so jarring it is inspired! The episode establishes a lot in the timeline. That new kid, Schwartz (Stephen), wants Fosse to talk him through his ideas for a new show called Pippin; Bob says he doesn't want to do it, but we know his need to save the day and fix "the horrible" show will win out. And we know how this turns out - nearly 2,000 Broadway performances! But can you imagine Gwen as Fastrada? (I can...)

This is a decidedly Verdon-centric episode, and watching her struggle through her straight-play debut is painful to watch, and brilliantly acted. I suspect the problem wasn't Verdon entirely; Children! Children! closed on opening night. But the standout sequence here is when we find out why she freaks out when Nicole is left with Paddy Chayefsky (an amiable, slightly skeezy scene with Norbert Leo Butz). The little known shot gun wedding and son she had with James Henaghan (a cruel turn by Santino Fontana) and the harassment/rape that caused it explains so much about her insecurities and co-dependence.

Will they ever explain why that stop-the-show curtain call out of town during Can-Can was both a high and low point in Gwen's life?

I have plenty to say about Michelle Williams and Sam Rockwell. But that's for another time.

#2064

Thoughts on RENT LIVE

Like I did with Jesus Christ Superstar Live, I'll share my thoughts about RENT Live as they happen. It only seems fitting that a live show gets a live response. Depending on how it goes, I'll come back a few days from now and add some reflective thoughts. Then again, maybe not - no day but today, right?




A few pre-show thoughts...

• RENT is special to me for full-on theater geek reasons. I had the privilege of seeing the show within days of it opening, right before it became the sensation it is today.
• The feeling of discovering an art form-changing work is something that reignites my passion for live theater. It is rare and to be savored.
• Looking back on it, it is so amazing to know I saw so many great careers at their start. The cast was full of unknowns, who today are household names.
• I know that to some this is blasphemy, but I love the movie version.

I'm looking forward to seeing this new generation tackle this piece - especially Vanessa Hudgens and Jordan Fisher. Here we go....

ACT ONE

8:00 - The opening graphic of the Jonathan Larson quote was so present, it was humbling. I can't be the only one who got teary. And the goose flesh from head to toe during the opening number. Wow. Just wow.

8:11 - The chemistry between Angel and Tom Collins is palpable. Love them both and can't wait for "Santa Fe." Must read up on Valentina! And isn't Brandon Victor Dixon awesome in these things?

8:13 - I love how the camera spun around when Mimi sings about the room spinning during "Light my Candle."

FIRST COMMERCIAL: So far, so great. The filming is excellent and adds to the experience. And the casting (so far) is spot on. 

8:22 - Brava! "Today 4 U" was off the charts. Get Valentina on Broadway ASAP. (The drawback to these live events is, unfortunately, on display here, though. The screams of the audience often drown out the music and lyrics. I feel for those who don't have the show memorized...)

8:29 - Age appropriate parents for Joanne. A nice touch.

8:30 - I think I have a crush on Mark Jordan Fisher. "Tango Maureen" was such fun and the connection between him and Kiersey Clemons was awesome. "Pookie!"

SECOND COMMERCIAL: So far, this feels like the perfect joining of two mediums. Michael Greif's care with this is beautifully evident.

8:39 - The Life Support meetings always makes me cry. Keala Settle. She just makes everything better, right?

8:42 - "Out Tonight" Tinashe is a fierce presence (even if her breathing gets in the way when she's tired). Love how she transitioned from the Cat Scratch Club to Roger's apartment. (See 2nd Commercial note.)

8:45 - "Another Day" I'm really loving this. Brennin Hunt has an amazing voice, and the chemistry between Roger and Mimi is off the charts.

8:50 - "Will I?" Surely, this song is one of the saddest ever written for the stage. By having it all over the space, it shows the whole community in crisis. Sobering and devastating. The moment of silence before the black out was perfection. I wish I was there to hear it.

THIRD COMMERCIAL: I am breathing again. I haven't felt this connected to RENT since the first time I saw it in 1996. 

The time period factoids in voice over offer much needed context some 23 after the premiere. Where I am, they are showing ads for Truvada. Important and well-placed.

8:56 - Jennifer Leigh Warren. Nice. "Santa Fe" BVD and Valentina continue to amaze with their connection. And I loved the choreography by Sonya Tayeh.

9:01 - Oh. My. God. "I'll Cover You"!  Such joy. (I know I'll be a mess the next time that song happens.)

FOURTH COMMERCIAL: Time to find the Kleenex. Must be prepared.

9:09 - "We're Okay" Nice acting from Kiersey.

9:10 - "Christmas Bells" is one of my favorite numbers. This does not disappoint. Love the "cameo." Bryce Ryness is creepy AF! I love the junkies dancing, and the juxtaposition of the "fancy"Christmas lights over top the decay of the East Village. Vanessa Hudgens' entrance! And that tongue!?

FIFTH COMMERCIAL: I really am loving this. Purposely NOT on social media to hear what others are saying. I'm enjoying it completely on my own terms.

9:20 - I predict people will love or hate "Over the Moon." Either way, you can't say Vanessa didn't bring it. What a set of pipes!

9:27 - "La Vie Boheme" - a true do or die moment for this show. Mucho masturbation... well done, Fox! Lesbian kisses in close up. Take that, conservatives... Kudos to Mario for being a strong presence. "I Should Tell You" - Great, dramatic special effect. Beautiful.

Goose bumps.

SIXTH COMMERCIAL: They hinted at the start, that Act Two was being re-worked to accommodate Brennin Hunt's injury. Hoping the energy is off the charts!

ACT TWO

9:43 - "Seasons of Love" is powerful as a community piece. Keala Settle does not disappoint.

9:47 - "Happy New Year" say what you want about Disney stars... but wow...

SEVENTH COMMERCIAL: I will say that I've always felt that the first few minutes after "Seasons of Love" always feel messy to me, and this production did not change that. There is one section that reminds me of Sondheim's influence on Larson - specifically, it reminds me of "Your Fault" from Into the Woods. Interesting, too, that this Maureen seems to be an influencer on one level, and a girl desperately chasing after being noticed.

9:59 - "Take Me Or Leave Me" That was intense. I can see why Vanessa got the job.

10:05 - "Without You" My favorite song of the whole score. Excellent staging that feels both theatrical and cinematic. BVD and Valentina wordlessly express so much.

EIGHTH COMMERCIAL: Need more tissues...

10:14 - "Contact" My jaw is still on the floor. They. Did. It. BRAVO!

10:20 - "I'll Cover You" Is this the definitive version?

NINTH COMMERCIAL: I am just sitting here... I'm crying noisily.

10:27 - "Halloween" Nice touch to have a flyer for the Moondance Diner on the phone booth.

10:29 - "Goodbye, Love" The lead up to the song - so much emotion... another messy moment in the score for me. But they are performing the hell out of it. And the song, too.

10:36 - "What You Own" I don't like the way this is staged. The audience takes me right out of the moment. Despite the audience intrusion, both Fisher and Hunt sing the hell out of this song. And the ending amazes.

TENTH COMMERCIAL: Am I the only one wondering when the point is that he broke his foot? It has to be coming up.

10:45 - Well that was my answer...

"Your Eyes/Finale" - The extra orchestration is lovely here.  It elevates the song and the moment. Hunt sings it gorgeously. His "Mimi!!!!" is a stunning guttural cry.

The ending... un-fucking-believeable... Jonathan Larson. Thank you.

10:56 - The Original Cast!!! So wonderful.

The orchestra did an amazing playoff.

Grade: A+

#1993

REVIEW: Wicked Turns 15: The NBC Special

HAPPY 15TH, WICKED!

Last night, NBC aired A Very WICKED Halloween, and I really loved it. It is hard to believe it was fifteen years ago TODAY, that the show opened at the Gershwin Theatre. And it's even harder to believe it was that many years ago when you take a look at Kristin Chenoweth and Idina Menzel. They look amazing. Plus, they are great hosts - what great chemistry!

I loved getting a look at the current Broadway company ("One Short Day"), and the duet between Ledisi and Adam Lambert ("As Long As You're Mine") was a great way to get the show started. It was a little strange hearing Pentatonix singing "What Is This Feeling?" with instruments, but they were great! The guy with Glinda's falsetto was great, and I loved the nod to Elphaba in Kristin Maldonado's choice of eye shadow. I forgot how much I enjoy that song - their vocal arrangement really kicked it up a notch. Ariana Grande - in her Ozified crooked green dress - emoted right through the screen and into my heart with "The Wizard and I." Let's get this movie made, okay?

The theater geek in me loved all the insider trivia, and the all too brief tribute to the worldwide phenomenon that Wicked is. (5 miles of cable to light Oz!!??)

The major highlight, though, was the incomparable Kristin Chenoweth killing it with "Popular." She was/is a very funny woman ("Pink!"). And the just as incomparable Idina Menzel singing a contemporary take on her signature "Defying Gravity." Both were goose bump-filled thrills. These ladies are as good as ever. They saved the best for last, when they sang a teary "For Good." I always tear up when I hear that song, but the feeling was more intense as the pair held hands singing to each other. And how wonderful to see all of those Glindas and Elphabas together, too.

It's been a few years since I've seen Wicked, and I didn't realize I missed it. I'm guessing that was the point of the special, and it worked. But I think the very best thing I can say about this special is that it genuinely felt like a tribute/thank you to fans, and not at all like an ad for the show. Well done!

Grade: A+

#1928

Getting My Broadway Fix on Friday Night TV

A guy sometimes just needs his theater fix, you know? I can't get to Broadway every weekend or even every month.  When it's been awhile, even the cast recording of Pippin just won't cut it.  Neither version.  So you learn to live without.  (See what I did there?) And you take your Broadway thrills where you can get them...

Like tonight, when I was watching TV, and saw a ton of Broadway stars doing what they do best.

Don't you laugh when you see that commercial for glasses with Brooke Shields and Heidi Blickenstaff? That's memories of Grease, Wonderful Town, Cabaret, The Addams Family, [title of show] and The Little Mermaid in 30 seconds!  Speaking of Grease, how about that new ad for Chanel that uses a really slow arrangement of "You're The one That I Want"?

Sad enough that I'm home watching TV on a Friday night, right?  Well, at least this week's Blue Bloods picked me up... There's show stars Tom Selleck (A Thousand Clowns) and Tony-winners Len Cariou (Sweeney Todd, A Little Night Music, Applause, Proof, etc.) and Gregory Jbara (Billy Elliot, Victor/Victoria, Damn Yankees, etc.), and there's guest stars Vanessa Ray (Hair), John Bolton (Damn Yankees, A Christmas Story) and James Carpinello (Saturday Night Fever, Xanadu, Rock of Ages) - and he was this week's "scum bag."

As the show progressed, there were ads for Sunday night shows - a Broadway gold mine! The Good Wife has Julianna Marguiles (a brief stay in Festen counts!), Chris Noth (That Championship Season, The Best Man - class of 2000), and Tony-winners Christine Baranski (Rumors, Nick and Nora, etc.) and Alan Cumming (Cabaret, Macbeth).  Madam Secretary has Tony-winners Bebe Neuwirth (Sweet Charity, Chicago, etc.) and Patina Miller (Pippin, Sister Act), plus Tim Daly (Coastal Disturbances), Tony-nominee Zeljko Ivanek (Brighton Beach Memoirs, The Caine Mutiny Court-Martial - also with Tim Daly - Two Shakespearean Actors).  One of this week's guest stars is Sebastian Arcelus (Elf, A Time to Kill, Jersey Boys). Honorable Mention goes to Erich Bergen, who was a recorded voice in An American Daughter, and he has been all over the country in the national tours of Jersey Boys and Anything Goes, among others.

Good news!  On Wednesday, I can look forward to Nashville with Tony-winner Laura Benanti (Gypsy, Women on the Verge..., etc.), Jeffrey Carlson (Taboo, The Goat, or Who Is Sylvia?) and Will Chase (The Mystery of Edwin Drood, High Fidelity, The Story of My Life, etc.)

But the best news is... in exactly 2 weeks, I'll get a Broadway fix for real! Side Show and Hedwig, here I come!

Jeff
6.031

Broadway on TV: The Best Musical Tony Award Nominees

For the last time this season, I'm taking a look at how the four nominees for Best Musical are using their nominations to woo us into seeing them.  I find it interesting that one doesn't even mention the Tonys (and it doesn't need to, sales-wise), one mentions it, but focuses on the cast, and the other two, which are the perceived front-runners, really push the Tony thing.  Go figure, right?

After Midnight

 

Grade A- : Though I would by no means count this one out of the running, I think it is wiser in the long run to let us know about the show's two biggest assets, which will long outlive and Tony hype they might generate.  Those assets are the spectacular dancing/Cotton Club connection, and the cavalcade of upcoming guest stars, divas all.  Smart and very good looking, it perfectly captures this extraordinary revue.

Aladdin

 

Grade B: This is the show that doesn't need to even really advertise, other than verify that it is worth waiting months to bring the kids (through great pull quotes) and that it is the show people have loved for the 20 years since the movie came out (the "Friend Like Me" music playing in the background).  This really needs some visuals from the show.  But again, they don't need it.  Oh, and no mention of the Tony nods - Disney seems to thrive on Broadway without them, and why set yourself up to look like a loser when you don't get the award?  I wouldn't mind it if Aladdin won, but I doubt that this will be the one to end the Disney drought.

Beautiful: The Carole King Musical

 

Grade A-:  One of the two top contenders, this ad does it all.  It appeals to women (using "Natural Woman" to underscore it was a good choice).  The cross cuts make it look action-packed and romantic (I hope people aren't too disappointed on either front). And it reminds us of its 7 nods, and its biggest asset, the unbelievably great Jessie Mueller.  I have to cry "foul" though, for its closing image, "BEST MUSICAL" and in really tiny print "nominations."  A 30 second ad that whirls by might leave prospective ticket buyers with the notion that it has already won that title.

A Gentleman's Guide to Love and Murder

 

Grade A+: Like Beautiful, this show knows it is a front-runner, and sells itself well.  First of all, kudos for getting David Hyde Pierce to narrate.  Second, you gotta love they way it down plays the critical huzzahs, making them all the more noticeable.  Third, it perfectly captures the fun, smart and very witty way the show is presented visually (it looks like an extravaganza, doesn't it?) and in tone.  And finally, what fun use of two of its Tony nominees - in character and, well, beautiful.  


Jeff
5.184

Broadway on TV: The Musical Revival Tony Nominees

So, how are the folks at each of the Tony-nominated musical revivals vying for our ticket dollars?  It runs the gamut - from not bothering with the nominations to touting them to the hilt.

Hedwig and the Angry Inch



Grade: A: From what I can find, they haven't changed their ad at all.  An d why should they?  It's the biggest hit of the season, with or without Tony nominations.  And it hits all the right buttons, hard!  A glammed up Neil Patrick Harris, a legit Rolling Stones quote, pulling in its key demographic, and fast cuts and loud music - a 16-second music video.  Just like the show, only really fast!

Les Miserables



Grade A+: This is, I have to admit, a beautiful commercial.  Cinematic in scope, exciting and full of characters we all know (and some of us love), I wish the show really looked like that.  The booming start of the overture the ad uses makes you stop and watch, too.  And talk about making the most of very little - they play the Tony nominations thing like they got the most of any shows - a wise play, for sure.  Of course, it doesn't matter, it probably won't win any Tonys, but, like Hedwig, it doesn't matter.  Even so, this is a great commercial.

Violet




Grade A: Violet could use a bit of a push at the box office, which is a shame.  But this nicely produced ad should really help that.  The perfect combination of rousing underscoring, fast clips and critical quotes, and excellently integrated info on its stars, Sutton Foster and Joshua Henry, and their Tony nominations.

BONUS: Cabaret





Jeff
5.182

The Tony Awards: The Best Revival of a Play Nominees on TV

The nominees for Best Revival of a Play represent a wide variety of plays - comedy and drama, classic American, classic modern European, and classic (in every way) Shakespeare.  They also represent some of the very best in theatre from the entire season!

The Cripple of Inishmaan



Grade: C Okay, they can claim "The Most Tony Nominations of Any Play On Broadway," but on a technicality... the plays that got the most, its competition, no less, isn't "on" Broadway anymore.  And a laugh track to show how "funny" it is?  Wow.  Don't get me wrong, I loved the play, and they are smart to include some of the visual comedy in the ad, but people shouldn't go into it expecting a guffaw-fest.  And, just as with the Tony nominations, the best thing about it, star Daniel Radcliffe gets the short shrift here.

Twelfth Night



Grade: A  Since it closed long before the Tony nominations, obviously they couldn't come up with/didn't need an awards-related ad.  But what is here represents the show perfectly, from the "Elizabethan" sounding British voice, to the visuals that match the critical huzzahs and still manage to capture Shakespearean grandeur and simplicity of the production.  Classy.  The ad, like the production, is first-rate.

A Raisin in the Sun
Apparently, there is no TV ad for Raisin, at least not one I could find.  Of course, who needs one, when your show is already sold out!

The Glass Menagerie
I've already rhapsodized over this brilliant show many times.  And the same for their commercial - HERE.

BONUS!: Lady Day at Emerson's Bar and Grill






Both Grade A+: Let there be no doubt, even in these 15 second ads, that Audra McDonald loses herself (and any previous expectations the audience might have) in the role of Billie Holiday.  And the song choices tht go along with the montage of bits match the actual show's tone and serious nature.  Has anyone done "cut-up shtick" and looked so tragic doing it? The ads make this look like must-see theatre, and for Audra alone, it is.

Jeff
5.178

Tony Nominated Plays on TV

Here's a look at how this year's Best Play Tony nominees are trying to get you to see them!

Act One

In a lot of ways, the perfect TV spot, considering that Act One is all about the old days of Broadway.  You have the old school voice-over, the critical quotes surrounded by "flickering lights," the jazzy music and the close-ups of the stars, including widely-recognized faces like Andrea Martin and Tony Shalhoub, and there's even a shot of the one thing all the critics and audiences are talking about - that amazing (and Tony-nominated) set!  And great last line!  Grade: A


All the Way

The show's greatest asset - Bryan Cranston - is fully on display, and you can tell it is him.  But you can also tell he's doing a pretty decent L.B.J. impression, too.  And the smart-ass delivery of the tagline should appeal to all of his Breaking Bad fans.  But what should really sell this Tony nominated piece for the rest of us (and smartly, it comes across as rather masculine, getting more men in the seats) is the fast-paced cross-cutting of quotes and information, coupled with action film-style underscoring.  It looks and sound exciting, doesn't it?  Grade: A


Casa Valentina

The old time film footage sets the era, if not the Catskills location of this new play.  But the cross-cutting of the footage of the gal getting dress, combined with the voice-over, makes the final twist of the "complete picture" all the more delicious and provocative.  It perfectly represents what this lovely play is all about without prejudice or overselling it.  Grade: A+


Mothers and Sons

An interesting 15 seconds.  I'm guessing that it is important to know going in that the play is "NOW"? It is slick, and well produced, with nice integration of quotes.  But other than knowing that the play is "about now," I could have gotten all of the other info by watching it with the sound off.  Is that a good thing?  Grade: C

Outside Mullingar



It is cute and shows chemistry between Debra Messing and Brian F. O'Byrne, despite its opposites attract story.  I wish I had seen these two in action! Grade: A-

Jeff
5.169

Broadway on TV: The Bridges of Madison County

As I finish sharing my two cents' worth on the TV ads that are trying to persuade us to buy tickets to Broadway shows, I thought taking a look at those for The Bridges of Madison County, the romantic new musical now in previews on Valentine's Day was an apt choice.  Before I go on, I want to stress that my thoughts about these ads have no bearing on my thoughts about the show itself.  (My review of the show will be posted next week when it opens.)

So, I read with great interest the avalanche of Tweets and message board critiques that popped up when the TV commercial for the show made its debut.  People were generally unkind, so I had to see for myself if they were just being pre-opening bitchy or if they had a point.

They had a point.

TV Commercial

I can totally see where they were going with this spot.  It is clearly aimed at the ladies who lunch and women who love romance novels and the Lifetime network.  There is nothing wrong (or surprising) about that angle, since that is the exact audience that made the novel on which the show is based one of the best-selling books of all time.  The problem is the quality of the ad. It looks cheap - you can tell they are in front of a green screen, with a generic, unflattering background.  Kelli O'Hara looks pretty good (she's better in person, even with a similar wig) and so does Steven Pasquale.  But when they do the slow motion lip lock with a softening lens on them, it looks really phony.  Couldn't they have done another take where the pair doesn't look like they are pushing their faces together?  But what really takes the cake is the tagline, coupled with close-ups of O'Hara enjoying the summer country day.  The way the line is doled out, it looks/sounds more like an ad for a feminine hygiene product than a Broadway musical.  It made me giggle, much like I did as a 12 year old when a real douche commercial came on the TV.  Grade: D

TV Commercial (Creative Team Version)

This spot is more conventional (read predictable, boring) and aimed squarely at regular theatre-goers.  To that end, it is markedly more effective that the other.  It reminds us of the acclaim received by all involved, tells us who the stars are and shows off the pretty logo (The 3D prairie flowers look better in this version.)  But it is a dull 30 seconds, more a reminder than a call to buy tickets.  After all, real regular theatre-goers already know all of this already.  Occasional theatre-goers - admittedly a large chunk of the potential audience - however, might have their interest piqued enough to look into it.  Grade: C

Online Commercial

Easily the best of the three, this spot is definitely for theatre fans - fans of musicals, fans of Jason Robert Brown, fans of Kelli O'Hara, fans of Steven Pasquale - because it shows them in action, albeit recording the cast album, and it emphasizes one of the show's greatest assets, the beautiful, romantic score.  It is a great ad all the way around. The downside is that it is actually labelled "Online Commercial," meaning that its intended audience must be the kind of people (like me) who scour the Internet - YouTube specifically, in this case - looking for anything we can get our hands on that is show related.  Kind of a waste, since we are likely to buy tickets anyway.  But I sure can see swooning housewives reaching for the phone if they see the steam heat that is obvious between O'Hara and Pasquale.  And they never even touch each other.  Grade: A

Jeff
5.108

Broadway on TV: A Gentleman's Guide... and Beautiful

I thought that before the spring onslaught of new Broadway shows really hits that I'd take the next couple of days to talk about the TV spots for the shows that survived the fall and cranked up this winter. Today, I'll look at A Gentleman's Guide to Love and Murder and Beautiful: The Carole King Musical.  Tomorrow, Valentine's Day, I'll devote to the romance of The Bridges of Madison County.

A Gentleman's Guide to Love and Murder

This little spot manages to do a lot, hitting all the buttons it needs to push to get people in the seats at the Walter Kerr Theatre.  It certainly celebrates all of those things that make the show both unique and traditional.  It shows, successfully, I think, the zany qualities of the show, and it reveals the gorgeous costuming and multitudes of settings.  It manages to show singing, dancing and funny staging, while playing a sample from the score.  I think they made a wise choice in not highlighting the music per se, though, because the entire score benefits from being heard entirely in context of the book and the situations at hand.  And it really hammers home both the "they-don't-write-'em-like-that-anymore" idea and that the show is critically-acclaimed.  Oh, and it is "HILARIOUS!"  Believe it or not, I think they were smart to recognize that not every musical, and this one specifically, is not for everyone - the thick British accent of the narrator (if not actually Jane Carr, than a vocal doppelganger at least) lets you know up front that this show is "veddy Brit-ish...la dee dah." Grade: A-

Beautiful: The Carole King Musical

Despite my weariness over this sub-genre of musical, and my "meh" reaction to this show, I have to admit that they've come up with is a very good commercial.  Visually and in terms of the soundtrack, it makes the show look like a spectacle - they wisely intertwine the acts that benefited from Carole King's work (and very popular songs that they sang) and scenes from the life of Ms. King (ending with 2 of her signature songs as a soloist - "Natural Woman" and "Beautiful."  The overlay of critical quotes celebrate the show as a must-see and identify the biggest asset of the show, Jessie Mueller.  In the old days, this alone would have made her an overnight national sensation.  But those days are gone, and her name is not mentioned by the voice-over.  A wise move on two counts: one, they can use the ad, and take off the quote when she has long-departed and/or when the show inevitably tours; and two: the producers are smart not to closely identify the show with its star, never a good idea with a show that could become a brand.  Ask Mamma Mia, and remember The Producers.  Grade: A

Let me know what you think...

Jeff
5.107