Showing posts with label Chad Kimball. Show all posts
Showing posts with label Chad Kimball. Show all posts

Friday, October 21, 2011

Hockadoo! Memphis Turns 2! (Plus a Tour and a New Huey, Too!)

Memphis on Broadway at the Shubert Theatre
You never really hear much about one of my favorite shows currently on Broadway, Memphis.  Talk about "the little show that could"!  It toiled in development for years.  It is an ORIGINAL musical, only loosely based on actual events and people, not a book, not a play, and NOT A MOVIE!  It has a score by a rock star, but who had never written for theatre.  And it opened with two relatively unknown stars.  And now it has 4 Outer Critics Circle Awards, 4 Drama Desk Awards and 4 Tony Awards - all including Best Musical of the 2009-2010 season.

But this week has been a big one for Memphis:


Felicia Boswell and Bryan Fenkart: Memphis live in  them!
October 14: The First National Tour of Memphis begins performances in its namesake city, Memphis, Tennessee.  The cast is led by Bryan Fenkart as Huey and Felicia Boswell as Felicia.

October 16: The First National Tour officially opens.   The tour, just like its Broadway parent, is directed by Christopher Ashley and choreographed by Sergio Trujillo.    Here is some opening night footage from YouTube.




October 19:  Memphis celebrates its second anniversary and 832 performances on Broadway, with much of the original cast, including Chad Kimball and Montego Glover.

October 20: Fans of Memphis are invited to a special preview performance by Tony nominee Adam Pascal (RENT, AIDA), who will be Broadway's new Huey, beginning October 25.


Adam Pascal is Broadway's new Huey Calhoun
October 23: Chad Kimball, the Tony nominated, original Huey, will play his final performance in the show at the Shubert Theatre.  Montego Glover will remain with the production.

Rest up and come back to Broadway soon, Chad!
Congratulations Memphis Company!  Farewell, Chad!  Welcome, Adam!  Hockadoo!

For a lot more information and cool stuff about the 2010 Tony-winning Best Musical on Broadway and on Tour, go to http://www.memphisthemusical.com/.

(Photos of Adam Pascal Preview Event by Monica Simoes.  From Playbill Online)

Rate this blog below and leave your comments there, or by email at jkstheatrescene@yahoo.com, or Tweet me!
Jeff
3.053

Monday, May 9, 2011

REVIEW: Memphis (Film)

Review of the nationwide screening of Memphis: A New Musical on May 3, 2011.  Starring Chad Kimball, Montego Glover, Derrick Baskin, Cass Morgan, J. Bernard Calloway, James Monroe Iglehart and Michael McGrath and the Broadway Cast.  Music by David Bryan.  Book and lyrics by Joe DiPietro.  Choreography by Sergio Trujillo.  Directed for the Stage by Christopher Ashley.  Directed for Film by Don Roy King.  Running time: 2:45, including pre-show documentary and intermission.

GRADE: A

Opera has been doing it for years (live and recorded) and some West End shows, too.  And now, at last, Broadway has joined the cinema revolution with the recent screenings of Memphis.  This is history in the making, folks, and it is a concept I fully embrace.  This screening, at limited screens and at limited times, brings Broadway to the masses if the masses so choose to partake.  The show couldn't be more current (just a year old AND the current Tony-winning Best Musical) making it a draw for true theatre fans all over the country, and at $20 a ticket (plus a small fee), affordable in comparison to the real thing.  By making it a strictly limited engagement at a limited number of theatres, it not only makes the film a "special event,", but it also takes away the fear that it could seriously impact the audience of the show at the Shubert Theatre.  If anything, at least from what I heard people saying during the intermission, it should help it gain some audience on tour and on Broadway.  Why?  Because as great as film is, and this one in particular is pretty darned great, it will never replace the experience of live theatre.  But a close approximation might just light the fire under a few and reignite the fire for people who haven't been in awhile.

There are many advantages to film.  First, as the show was filmed live over several performances, the best of each scene and number can be edited together to create a "definitive edition."  Second, you get a great view, no matter where you sit, and you get to see things that even a front row seat at the theatre doesn't give you, like tight close-ups, focus on reactions by the supporting and ensemble characters, and even sweeping views of the whole stage when important.  Third, with special recognition for film sound designer Matt Kaplowitz, you can hear the orchestra and singers at comparable and notably clearer levels.  The sound literally surrounds you and every lyric, word and note is crystal clear.  And, of course, it drowns out the chatty Cathys that inevitably sit right behind you, running commentary and all.

Of course, there are some disadvantages to film versus live performance; as I said, film will never replace the live theatre experience.  First, film also "tells" you what to look at - you have no choice as to what you are seeing as the film is the only view you get at any given minute.  Second, there is automatically a limit to how much you can react to something. There are no holds for laughs, and, while the audience I attended with applauded freely throughout, there is no chance for really being enthusiastic without clapping yourself into not being able to hear the next scene.  And finally, and perhaps most importantly, you have no live connection going on between cast and audience.  That electric current between the house and the stage is notably absent.  Yes, you can hear the recorded audience react, but it just isn't the same.

There is one aspect of the film that I loved, simply because you can't really do it in a live performance, and there is one thing that inadvertently effects a filmed version of a live show.  What I really loved was in act two, during Huey's TV show, we often saw it as if we were watching our old black and white TVs.  We could see it the way it was meant to be seen, in effect.  The thing that I really didn't like is that with the sound so attuned to the performers, no slack could be cut for breathing loudly and for all those little sounds we make between words and sentences.  Live, it comes off naturally.  HD sound makes it sound odd. 

Fortunately (or unfortunately, as you choose to look at it) this really only effected Chad Kimball, a heavy breather and word-slurrer/gasper/grunter of the highest order.  Because Mr. Kimball is portraying a larger than life character, some license has been given in allowing him to exaggerate speech and physicality, I am sure.  And as he was really performing for a full house in a theatre that is gigantic compared to the multiplex, his performance is notably large.  On film, he comes across sometimes as over acting, and not just eccentric and a little slow, but perhaps mentally challenged as well.  Still, with the balance of everyone around him and some truly beautiful vocal work on his part during the musical numbers, his excesses are easily overlooked.



The rest of the cast comes off exceedingly well.  Montego Glover has starlet written all over her - the camera LOVES her.  Cass Morgan's work on the details of her character are much more evident close up, and the broadness of Derrick Baskin, J. Bernard Calloway, James Monroe Iglehart and Michael McGrath are even more delicious on the big screen.  And the ensemble is vastly talented as they dance and sing in a wide variety of styles as the score calls for.

The film, directed by Don Roy King manages to capture most of the theatricality of Christopher Ashley's stage direction, and leaves me wondering all over again how Sergio Trujillo's spectacular choreography wasn't even nominated for a Tony Award last year.  Memphis is one dancin' extravaganza as this film captures so beautifully.

Soon, this will be available on DVD, and I will buy it.  And I will be attending the filmed version of the New York Philharmonic concert of Stephen Sondheim's Company.  I encourage all of you to do the same.  Supporting this kind of union of two art forms is a win for everyone.

(Photos of the Broadway production by Joan Marcus)


Comments?  Leave one here, email me at jkstheatrescene@yahoo.com or Tweet me!
Jeff
2.252

Friday, February 11, 2011

Back in Time: 2002: Into the Woods (Revival), Part III

Here is the third of four blogs discussing the 2002 revival of Into the Woods.  Previous installments in this series discussed the show itself and the creative team.

Given that Into the Woods is such an intricately woven story, with each character large and small offering some impact on the overall piece, I hesitated to divide the cast into supporting and principal groups.  But, after reviewing the cast list, listening to the cast recording, and considering the script again, I decided to do so.  Of course, this Tony-winning revival, like its original cast predecessor, has an outstanding ensemble company, so delineating between the groups mostly comes down to size of role, and in no way diminishes the impact that each actor brought to the piece.

So, here's a look at the supporting cast of the 2002 revival of Into the Woods:

Chapman (left) in Caroline, or Change

Tracy Nicole Chapman (Florinda)

Before Into the Woods: The Who's Tommy, How to Succeed..., The Life, The Lion King (original cast - Shenzi), The Music Man
During Into the Woods: She understudied the role of the Witch.
Since Into the Woods: Caroline, or Change (The Radio)

Dame Judith Dench

Judi Dench (The Giant)

Before Into the Woods: A storied career in London, New Work, and on film, television and stage.  She has appeared on Broadway only 3 times, including her Tony-winning turn in Amy's View in 1999.  Her honors include 7 Olivier Awards, and 6 Oscar nominations/1 Oscar (Shakespeare in Love).  She was named Dame by the The Order of the British Empire in 1988.
During Into the Woods: The acclaimed actress never appeared in the show.  Her voice was recorded for the production.
Since Into the Woods: She continues to make films (including the role of M in every James Bond film since 1995's Golden Eye.

Dye (left) with Woods co-star Vanessa Williams at
the opening of Irving Berlin's White Christmas

Melissa Dye (Rapunzel)

Before Into the Woods: Grease! (1994 revival - as Sandy (replacement))
During Into the Woods: She, along with Vanessa Williams, introduced the song "Our Little World" to Broadway audiences.
Since Into the Woods: She has not appeared on Broadway since.

Kelly (right) with Into the Woods original cast member,
Joy Franz, in the National Tour of Damn Yankees

Dennis Kelly (Cinderella's Father)

Before Into the Woods: Damn Yankees (1994 revival as Joe Boyd), Annie Get Your Gun (1999 revival as a replacement Buffalo Bill Cody)
During Into the Woods: He understudied the roles of Narrator and Mysterious Man.
Since Into the Woods: He has not appeared on Broadway since.

Kendall (center, left) in the National Tour
of The Color Purple

Trent Armand Kendall (The Steward)

During Into the Woods:  The revival was his Broadway debut.
Since Into the Woods:  He has not appeared in another Broadway show, but has been very active in the benefit performance area of the New York theatre scene, having appeared in benefit productions of The Best Little Whorehouse in Texas, Hair and Chess.

Chad Kimball in Memphis

Chad Kimball (Milky White)

During Into the Woods: The revival was his Broadway debut.  He is (so far) the only human to play this role on Broadway.  He also understudied the roles of Jack, Rapunzel's Prince and the Wolf.
Since Into the Woods: Good Vibrations, Lennon and Memphis (Tony Award nominee - Best Actor in a Musical)

Malenke in a regional production
of The Pirates of Penzance

Jennifer Malenke (The Horse)

During Into the Woods: The revival marked her Broadway debut.  She is (so far) the only human to play this role on Broadway.  She was also the Dance Captain and understudied the roles of Florinda, Milky White and Rapunzel.
Since Into the Woods: She has not appeared on Broadway since.

Myers (right) in the original Broadway
production of Company

Pamela Myers (Cinderella's Stepmother)

Before Into the Woods: Company (original cast as Marta; 1971 Tony Award nominee Best Featured Actress in a Musical)
During Into the Woods: She understudied the role of Jack's Mother.
Since Into the Woods: She has not appeared on Broadway since, though she continues to direct and produce regionally.


Amanda Naughton (Lucinda)

Before Into the Woods: The Secret Garden
During Into the Woods: She understudied the role of the Baker's Wife.
Since Into the Woods:  She has not appeared on Broadway since, but has an extensive resume in regional theatre and television.

Coming soon:  The Principal Cast of the 2002 revival of Into the Woods.  Which of them lived happily ever after?


Comments?  Leave one here, email me at jkstheatrescene@yahoo.com or Tweet me!
Jeff
2.164

Sunday, November 1, 2009

The Boys of Broadway: Mr. November

If you've seen the new musical Memphis, you won't be surprised that I have chosen its lead, Chad Kimball as Mr. November. Sure, he's cute - that killer, genuine smile and those lively, kind eyes certainly turn heads, mine included. And, oh is he talented - as Huey Calhoun, Kimball virtually disappears; gone is the soft-spoken, but excited nice guy at the stage door, in his place a tough as nails pioneer, as passionate about his music as he is his forbidden love. Well, the reviews are in on Memphis - some mixed, but nearly all in praise of a "new young Broadway star," who has actually been flirting with Broadway success for years. Perhaps this is where fictional Calhoun and real-life Kimball collide. They share a passion for the art they bring to people daily. And, so, I have chosen the "newest star" with the most interesting resume as Mr. November. And I think we can all be thankful for his presence this season (and, hopefully, beyond).

Here he is, boys... Mr. November!



Part of the uber-talented 2000 revival cast of Godspell that toured the country, Kimball was joined by several now-famous Broadway stars, including Barrett Foa and Leslie Kritzer.



But it was as Milky-White, the beleaguered cow in the 2002 revival of Into the Woods, that Mr. Kimball gained national attention, including being named the "it" cow by Entertainment Weekly.


In between stints in several high profile regional productions, including My Life with Albertine and Baby, Chad returned to Broadway twice, and both times in notorious flops: 2005's Beach Boys musical, Good Vibrations, which he left less than a week after opening to join his next show, 2005's Lennon, where he was one of several actors playing aspects of John Lennon. Say what you want about both shows, at least he didn't give up, and still returns to the New York stage!

Good Vibrations: (If you look closely above, Sebastian Arcelus is center and Chad is in the center of the group to the right, orange pants!)



Lennon: Opening night with co-star Will Chase. Chad sure has worked with some amazing people.

All of those ups and downs, though, have made him more than ready to take the lead. And at last, the talented Mr. Kimball has done just that!

Pre-Broadway Memphis.



At a Memphis press event with co-star, Montego Glover.


Heating up the stage 8 shows a week at the Shubert Theatre, again with Ms. Glover.


Now, with the success of Memphis, it looks like Mr. November can relax and enjoy many months on Broadway. Trust me. You won't be disappointed with Chad Kimball. Go see Memphis!



Have you seen Chad in a show? Leave a comment!
Jeff

Wednesday, October 21, 2009

Broadway on YouTube: Memphis

This new commercial for Broadway's newest hit, Memphis: A New Musical perfectly captures, I think the musicality, the period, the dancing and the energy of the show. I bet future commercials emphasize the song that closes this ad, "Memphis Lives in Me."



I would, by the way, definitely recommend seeing this show... it is so much fun, and so energetic!

Enjoy! And if you see the show or want to comment on this ad, leave a comment!
Jef

Friday, September 4, 2009

Friday's Bits and Pieces

It is FRIDAY! And it is a nice long weekend! Here are a few random thoughts on theatre related news from the recent past.

Goodbye, Vera! Love, Mame

Of course, we were all crushed to learn of Bea Arthur's death from cancer over the summer. What a great lady, actress, and virtual friend. I mean, who didn't think they knew her between Maude and The Golden Girls? Theatre fans will never forget her as the original Vera Charles in Mame or as the original Yente in Fiddler on the Roof. Her smokey, gruff warble was perfect for both roles, and thank God both cast recordings saved a bit of her incredible delivery in spoken dialogue.

One of my fondest memories of Ms. Arthur was when she appeared on the Tony Awards during the 80's when Angela Lansbury was hosting and they sang "Bosom Buddies" from Mame. The audience lapped it up! Brilliance in 2 evening gowns, I tell you. By all accounts, these two entertainment giants were very good friends, and so it seems only fitting that Ms. Lansbury will be hosting/narrating a star-studded tribute to the late comedienne.


Details of this event can be found by clicking here: http://www.playbill.com/news/article/132419-Angela_Lansbury_to_Host_Memorial_for_Bea_Arth

And here is a wonderful article about Ms. Arthur's legacy: http://www.playbill.com/playblog/?feed=rss2&tag=bea-arthur

Welcome to New York, Memphis!

While it is sad to say goodbye to one show (9 to 5: The Musical), it is great to look to the future. Ok, this season, at least. The first new musical of the 2009 - 2010 season is Memphis, a rare thing, indeed, as it is a completely original musical, based only on a time period, not on any book, movie or TV show. Starring Chad Kimball (Into the Woods, Lennon) and Montego Glover, this show takes us back to the time when radio stations didn't play "colored music" and the fight for equality on the airwaves. With a disclaimer on its ticket page that says, "(The show includes a depiction of violence against one of the lead characters," we can guess that it won't be a jolly frolic like Hairspray.)

It is always exciting to see a new marquee go up - the anticipation and wonder at how it will all turn out come opening night is a thrill. And now Memphis shares Shubert Alley with last season's completely original hit, next to normal. Here's hoping the newbie finds that kind of success!








(Photos by Matthew Blank at Playbill Online)


Why Burn the Floor Burns Me Up

First, a disclaimer: I have never seen Burn the Floor, and I have nothing against ballroom dancing - I am a huge Dancing with the Stars fan.

But I take pause at the fact that now, because the Tony committee decided to do away with the Special Theatrical Event category, Burn the Floor, will be lumped in with "appropriate categories that exist." This means it could be counted for Best Musical (though I doubt it will), but it could very likely be nominated for Outstanding Choreography. Nothing against the choreographer of the piece or the dancing, which I am sure is spectacular. I just think that it should be considered that the choreography was not created for a Broadway musical, but rather a specific genre of dance for a revue type show. And before you blast me... Fosse was a revue of a stage choreographer's work, and Swing! was designed expressly as a musical revue - the dance equivalent of Ain't Misbehavin' or Black and Blue. Tony Committee: Please reinstate that category!

Until Next Time, Kyle Dean Massey!



This weekend marks the end of Kyle Dean Massey's run as Gabriel in next to normal. This charmingly adorable guy took over for Aaron Tveit, who returns from a summer starring in Catch Me If You Can. I have had the pleasure of seeing both actors in the role, and I can say that Mr. Massey is a worthy successor. What he lacks in power, he sure makes up in nuance and clarity. He has created a character more closely hewn to the words he is singing and saying. In short, he really acts the role. I loved his performance, and I look forward to his return to the Broadway stage ASAP!

(Photo by Joan Marcus from Broadway.com)

Welcome to the World, Walker Diggs!


Two of Broadway's favorite people, Idina Menzel (Tony-winner for Wicked) and Rent's Taye Diggs, welcomed their first child, a boy named Walker Diggs, to the world on September 2nd. Congratulations! (Reports that little Diggs was born green were greatly exaggerated! LOL)



(Photo by Aubrey Reuben, Playbill Online)

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