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

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

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

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

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

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

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

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

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

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

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


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When the "Best" Isn't Your "Favorite": Kinky Boots vs Matilda

Next in an occasional series, the year is 2013. There are musical revivals I  love - The Mystery of Edwin Drood, Pippin, Cinderella, - a couple I really didn't care for hate - Annie, Jekyll and Hyde There are new musicals I admire - Elf, Hands on a Hardbody, Chaplin, A Christmas Story, a couple I hate (and I mean really hate) - Scandalous, Motown. But there are two that stand out above the crowd: one, a funny, heart-warming tale of self-love and acceptance, the other a deceptively grown-up kid's story about triumphing over your circumstances. The former, a Broadway-style crowd-pleaser called Kinky Boots, is the winner of the Tony Award for Best Musical, and is still running today. The latter, a smart, odd, off-the-beam treat from London called Matilda, critically adored, beloved by fans, closed after just over three and a half years at a loss. You can guess which one I loved.

Don't get me wrong. Kinky Boots was entertaining and had a great message. Cyndi Lauper's score was the best part of it, and the cast was first-rate. Star turns all around, but particularly from its two stars, Billy Porter and Stark Sands. I still remember their chemistry. And there were some nice performances by the supporting ladies, the always fun Annaleigh Ashford and Celina Carvajal (who you might know these days as Lena Hall).

The rest of the team did fine, if not particularly ground-breaking work. The lights and costumes (by Kenneth Posner and Gregg Barnes, respectively) were colorful, and David Rockwell's sets were detailed and functional. Jerry Mitchell did a great job of keeping things moving and the choreography fit the piece, but, again, nothing really new, either. (This entire team is also responsible for the similarly fun and serviceable Pretty Woman this season.) Finally, while it is well-constructed and funny (in spots), Harvey Fierstein's book felt like a re-tread of both La Cage aux Folles and Torch Strong Trilogy. Outside of Ms. Lauper, I've seen better, more exciting work from the creative team. Kinky Boots wasn't even my second favorite new musical that season - that was Hands on a Hardbody.

Then there was that feisty British girl, who overcomes unbelievable circumstances with strength and dignity, teaching the grown-ups in her life (and in the audience, too) a few lessons along the way. What I loved about Matilda is that it took a lot of risks and didn't hold back. No excuses. Dennis Kelly's Tony-winning book and Tim Minchon's lyrics (and music) were a marvel of wit, intelligence and heart, proving that a show aimed toward kids needn't pander to them. It was truly wondrous to see a show that could be enjoyed on many levels. It may be easier for me to list the songs I didn't enjoy (there are none), so I'll list my favorites of my favorites: the opening one-two punch of "Miracle" and "Naughty," the exciting finale, "Rotten Children," and the extremely touching, thought-provoking and tears-flowing-every-time-I-hear-it "When I Grow Up."

It was just as exciting to watch. Rarely are the sets, costumes (both by Rob Howell) and lighting (by Hugh Vanstone) as exciting as the show, and even better, they didn't overwhelm the show itself. It is not surprising that they won Tonys for their work. Much of the thrill of Matilda for me was watching the endlessly creative and meaningful direction of Matthew Warchus and choreography of Peter Darling. Then there was the cast, tops at their craft, from the ensemble to the leads. Has there ever been a more lethal and hysterically funny trio of villains than the Wormwoods and Miss Trunchbull? (Tony-winner Gabriel Ebert, Lesli Margherita  and Bertie Carvel, respectively) But the real treat was the heart-warming performance of the sweet Miss Honey (Lauren Ward) and the truly miraculous ball of fire Milly Shapiro as Matilda.

Man, do I miss all the Maggots...

Click the "Show Reviews" tab above to see my full reviews of Kinky Boots (B+) and Matilda (A+).

Photos by J. Marcus

When the "Best" IS Your "Favorite": 2012

I've done a couple of columns about when my "favorite" show of the season was not the "best" musical of the season. So, in an effort to be more positive...

This may be a tad premature, since there's still one more Tony Award for Best Musical to be given out in the 2010s decade. But so far there are 3 "Best Musicals" this decade that were also my "favorite musicals" of their respective season.

First up, Once, the Best Musical of 2012. There were several shows that season that I really liked a lot. And couple, not so much.  I saw all 8 new musicals that season.  Here are my review grades for each (you can read the full reviews HERE), and the ones with an asterisk denote the Tony nominees for Best Musical.

• Bonnie and Clyde  A
• * Disney's Newsies  A+
• Ghost: The Musical  B+
• * Leap of Faith  B-
• Lysistrata Jones  A
• * Nice Work If You Can Get It  C-
• * Once  A+
• Spider-Man: Turn Off the Dark  B- (The final version that "officially" opened. I actually liked the previous version better.)

As you can see, 2 of my favorites made the final nominee cut, and my 2 least favorites also made the cut.  So why was Once my favorite?  Looking back on it, there were several reasons.

1. The cast - Every single person in it was wonderful, and so talented.  And the leads - Steve Kazee and Cristin Milioti - were perfection, with chemistry that flowed off the stage.

2. The staging - John Tiffany (director) and Steven Hoggett (choreographer) - was delightfully theatrical and the dancing was evocative and thrilling. And look at them creating more magic with another little Tony-winning show...

3. The music - All of it good, and to this day, every time I hear "Falling Slowly," I get misty-eyed. In the theatre, both times, I wept openly when that song started.

The show is among my all-time favorites. I found it thoughtful, smart and emotionally satisfying. It makes me ache in my soul. The best musicals make you feel.

Broadway Things That Make Me Happy: January 2014 (Part II)

As I mentioned last week, this year, I'm going to try to be more positive, and that includes appreciating things about Broadway.  This week, there were plenty of things to be happy about!

2 for 1 tickets:  I finally got around to trying for tickets to Broadway Week this year, and I am glad I did!  Thanks to that promo, I'm getting to go back to Matilda, in practically the same seats I got to see it before!  I'm happy and feeling a little bit naughty, too...

2-for-1 + Matilda = PARTY!

Upcoming show announcements: This week saw a ton of show announcements, and three have me really looking forward to the future.  One of my favorite plays of all time is coming to Broadway at the very end of the season, with one of my favorite performers, The Cripple of Inishmaan is the play; Daniel Radcliffe is the performer. Next season will see what I call an "event play": The Curious Incident of the Dog in the Night-Time is such a play: emotional, creative and theatrically staged.  I can't wait!  And also next season, a revival of one of my favorite musicals of the 90's, with one of the most amazing scores ever: Titanic.  The first time around, I loved it before Rosie O'Donnell put her stamp of approval on it.  I can only imagine how the social media hounds today would have lapped up all that drama!

Epic Theatricality

Epic Star-Power

Epic Story-telling

Back to the drawing board: I've professed my love for theatre caricaturist Squigs many times before.  His drawing for Beautiful makes me smile.  I love me some Jessie Mueller, and he has captured her perfectly!

Family first: I get emotional thinking about how the Broadway community rallies around national causes.  They are unparalleled in giving.  But it also warms me, and makes me happy, when they rally around one of their own, too.  Such is the case with the cast of Motown: The Musical who gathered to produce the song and video below to support their friend and castmate, Valisia LeKae.



Jeff
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Broadway Things That Make Me Happy: January 2014

One of my New Year's resolutions is to try to focus more on things that make me feel happy and positive.  Well, the Broadway news over past few days has had several items that make me happy.  Here's my list - feel free to add to it by emailing, commenting below or Tweeting!

• Shows I love have recouped and are now making a profit!  This week, both The Glass Menagerie and the repertory double-bill of Twelfth Night/Richard III announced that they have made back their initial investments.  Good job!

• Speaking of The Glass Menagerie, I am thrilled to hear that in an interview, Zachary Quinto (above, left, right) professed his love for live theatre and plans to return to Broadway!
• And speaking of Twelfth Night, how terrific that the awesome Samuel Barnett (above, right) will be eligible for a Leading Actor Tony!  He's definitely worthy, now I hope nominating committee remembers him come spring...

• I am so glad that Ghostlight Records will be doing the OBCR of A Gentleman's Guide to Love and Murder.  First, they always do great CDs, and, second, I can't wait to revisit and really study the witty tunes and lyrics of Steven Lutvak and Robert L. Freedman.
• Can't wait to see the HBO film version of The Normal Heart, announced this week to air in May.  If they come up with something even half as good as Angels in America, it will be awesome!

• I'm thrilled that one of my favorite stage actresses, Karen Ziemba, will be joining another of my favorite stage actresses, Marin Mazzie, in Bullets Over Broadway.  It has moved up on my list of shows I can't wait to see this spring!

• On a personal note, I am beyond happy that my first "Face of the Future" pick, Charlie Franklin, is such a huge hit with you readers!  It is the biggest hit blog (in number of hits) I've had in more than a month!  Thanks! (To see that blog, click his pic at the top right of the page!)
• And finally, I have to admit that i am thrilled that Laura Benanti read my blog about her yesterday, and that she liked it! It's also pretty cool that she also follows me on Twitter! (To see that bog, click HERE )

Jeff
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2012 in Review: My Favorite Things: Part I

I've got a lot of stuff planned for this blog between now and the end of the year, so I figured why not start reviewing the year a little early?  Oprah just came out with her annual list of stuff the rest of us can't afford ($500 socks? Talk about a foot fetishist dream...) great gift ideas for the discerning public.  Well here are 5 things you might consider for the discerning theatre fan.  My theatre-loving life is just that much better with these things.  I also included websites for you, in case you want to buy them!

JEFF'S FAVORITE "THEATRE THINGS"

3 CAST RECORDINGS AND THEATRE MEMORABILIA:

• Carrie (Premiere Cast Recording):  I haven't had it out of my CD shuffler since I got it.  And here's my REVIEW in case you are interested.  And you can order it here: Ghostlight Records or Amazon.com . ($14.77)

• Bonnie and Clyde (Original Broadway Cast Recording):  Another CD that hasn't been out of my player since I got it.  Awesome performances by Laura Osnes, Jeremy Jordan, Claybourne Elder and Melissa van der Schyff and an interesting, infectious score by Frank Wildhorn make this a must-have.  For information go to Broadway Records and to buy it, try Amazon.com . ($13.56)

• Carols for a Cure: Its hard to believe we are already up to Volume 14 of this annual holiday recording!  This year's edition is particularly collectible: Perez Hilton, Cyndi Lauper and Ricky Martin are featured soloists.  But the real gem?  "Keep the Home Fires Burning" sung by the cast of Rebecca!

• The Ultimate Playbill Binder: For the serious Playbill collector, this library quality-bound binder comes with 18 sleeves made from archival grade materials to help keep the aging process at bay.  Each binder can hold 24, though it i not recommended to hold more.  Extra sleeves may be purchased separately   Lower quality, less expensive binders are available for the fan interested in keeping their Playbills in order and easy to re-read.  For information and to order click HERE. ($33.95; extra sleeves $7.95)

Just think... you can buy all of this for just over $70.00 (not including taxes, shipping and handling).  Or you can buy 7 of each... or one pair of Oprah's favorite socks...

Before you go...

...have you VOTED in this month's THEATRE POLL?  It is in the left column!
...have you VOTED in this week's HOT or NOT?  CLICK the ELF icon in the upper left column and vote BEFORE THURSDAY!
...have you READ the interview with CHAPLIN's WAYNE ALAN WILCOX?  CLICK his picture in the upper right column!
...have you checked this month's BROADWAY BOY, DROOD's WILL CHASE?  He's a pretty amazing guy!  CLICK his picture in the right hand column to find out more! 

Jeff

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Comments? Questions? @jkstheatrescene (Twitter); jkstheatrescene@yahoo.com (Email); or leave a comment below and check a box!