JKTS CHAT: Interview with Telly Leung (Part 2)

Since part one of this interview posted, Telly Leung has begun previews of the Broadway-bound musical, Allegiance.  In Part I, he discussed that show, as well as his time with the revival of Godspell.  In this part, Mr. Leung talks about his time on Glee, working on the original Broadway production of RENT, as well as working with Neil Patrick Harris on the Hollywood Bowl production.  He also tackles the issue of non-traditional casting, and a few more of your questions.


JEFF: OK, the inevitable Glee question.  The show is so slick and well produced, with epic numbers  and amazing vocals each week.  Can you take us briefly through the rehearsal process – from script to final filming?  I imagine it was grueling!  And how was it to work with Darren Criss and Chris Colfer?  How did you manage to escape the Glee Tour? 

TELLY: First of all, from Day One, Darren and Chris were amazing to work with. They are such pros. Shoot days are long and grueling, and I watched those two turn it out take after take. It was really inspiring to watch.

Telly with Darren Criss and Chris Colfer on the set of Glee

Glee days are LONG. Usually, on a set, you are doing 8 hour days or 10 hour days. On Glee, you’re probably looking at a 12 hour day minimum – and usually, it’s more like 16 hours. Shooting a musical (as the folks on Glee and Smash will tell you) is more complicated than shooting a regular TV drama. You have to get the number from all sides, different angles, crane shots, etc. But, the product is well worth it. It can be a stressful environment sometimes, but in the midst of all that stress and exhaustion comes a loopy sense of fun that I think is also captured on screen. I think it’s that sense of fun that audiences for Glee really latch on to when it comes to the musical numbers. Come on – who doesn’t DREAM of having their life be a musical sometimes?!

As for the Glee tour, they asked me to go on the road – and it was hard to say no. However, I had to chose between Glee tour and hanging with my boys in giant 20k stadiums all over the country – or doing the workshop of Allegiance – and I chose to come home and take the time to really develop Allegiance. I think the choice paid off, cuz now I’m in beautiful San Diego, working on the world premiere of this show!

JEFF:  I have worked with and know several Asian-American actors, who lament the lack of roles and the having to wait for places to do The King and I, Miss Saigon and Flower Drum Song in order to find work.  Has that been an issue for you and your career?  How do you feel about the recent controversy surrounding the casting of The Nightingale?  (I’m playing Devil’s advocate here.)  If people are all for non-traditional casting, why is it “wrong” to cast a Caucasian actor as the Emperor in The Nightingale, but “OK” to cast an Asian-American as German child Wendla in Spring Awakening, for example?  Isn’t non-traditional casting the same both ways?  As someone who has already had quite a career and has seen it from all sides, I’m sure, how do you stand on this issue?  

TELLY:  The original intent of non-traditional casting was to give minority actors that do not have a wealth of casting opportunities a chance to work – doing roles that have been traditionally cast as exclusively Caucasian – especially those roles in which race / gender / ethnicity is not germane. I believe in this term and its original intent – which is why I don’t think it really works the other way around. Let’s be real – there are away more opportunities for Caucasian actors. They are the majority. Comparatively, there is very LITTLE work for Asian actors out there – which is why non-traditional casting is important. One day, the situation may be reversed (though highly unlikely). One day, IF there is a minority of Caucasian actors and the majority of actors are (for example) of Asian decent, and the majority of commercial work being produced is cast with only Asian actors – then yes – we will need to make an effort to cast Caucasian actors non-traditionally in roles that are usually cast with Asian actors. But, that’s not the reality – and it’s important to look at the statistics of how many minority actors are actually being considered and hired for projects – especially when the roles aren't race / ethnicity / gender specific.

Allegiance at the Old Globe

JEFF: Back to Allegiance and this issue.  Is there any kind of issue taken within the Asian-American acting community when a play about the Japanese internment camps as three leads from three different nationalities – Japanese (George Takei), Chinese (you) and Filipina (Lea Salonga)?  

TELLY:  At the moment, there’s no issue – atleast not that I’ve heard of. Quite the opposite. I think the Asian community is actually THRILLED that this story is even being produced on a major level, and featuring so much Asian talent – and I’ve gotten nothing but encouragement and praise from my brothers and sisters in the Asian community for Allegiance. The hope is that Allegiance will benefit the community as a whole. Fingers crossed that it’s a successful run in San Diego, which will lead to a long and successful run in New York. Maybe NY will lead to other productions (West End, a tour) – which means more and more work for Asian actors.

The final days of Broadway's RENT

JEFF:  You were also in the closing cast of the Broadway production of RENT.  I’ve seen the DVD preservation of the final performance, and the audience seemed pretty crazy, but totally into it.  What was that whole last week like, performance/audience wise?  While it is great to be a part of such an amazing phenomenon, how was it to come in at the end and close it?  Had you had much experience with the show prior to that?

TELLY:  I saw the original cast of RENT in 1996 when I was in high school, and it totally made me want to do theater. Fast forward 10 years, and I’m standing on that famous line, singing "Seasons of Love" on Broadway. It was a totally full-circle, surreal moment to me. My high school theater dream totally came true. The RENT family is a tight knit group and those final days of RENT was a celebration of 13 years of amazing memories. I feel so honored to be part of a select group of artists that got to work on that show – a show that really changed the way the world thought of music theater. Not only was it an amazing show – it was a cultural phenomenon – and I got to be a part of it. Pinch me! 

RENT at the Hollywood Bowl
Telly with Wayne Brady

JEFF: Simple question: What is it like to work with/for Neil Patrick Harris?

TELLY:  Neil is awesome. I was already such a big fan of his acting work, but he’s also a very gifted director. Neil is part of the RENT family. He played Mark in the West Coast premiere – and even though we never worked on RENT together, there is a bond that exists between members of the RENT family. I was so honored when he asked me to play Angel at the Hollywood Bowl. He wanted to add new members to the RENT family (like Vanessa Hudgens and Wayne Brady), but he also wanted to make sure he had some RENT alums (like me) in the mix, especially with a very short, 10-day rehearsal period. It was such a joy, performing that show for 17,000 people a night! 

JEFF:  Last question from me!  Given that we “met” on Twitter, I assume that you are pro-social media.  As you see it, what are the pros and cons to websites, Twitter, Facebook, message boards and the like as far as being in the entertainment business?  How important a publicity tool is it?  Does it limit your ability to express your true feelings for fear that you’ll get in trouble with fans, producers, etc?

TELLY:  I love social media. It’s humanly impossible for me to connect to everyone who may have an interest in my work – but social media makes it easier. Theater (and the arts, for that matter) is all about connecting to people. It’s about reminding us of our humanity, and the importance of community. Social Media has only HELPED that. 

Here are more of YOUR questions for Telly!

1. Which other track would you have liked to play in Godspell?

TELLY: Uzo and I joke about this. We’ve always wanted to switch roles! I’d kill to sing "By My Side."

2. If you weren’t a performer what would like to do as a career?

TELLY:  Either a translator at the UN (I love languages) or a teacher. I think I still may end up teaching – when I’m done acting. I really love it. 

3. If you could live any other time in history but right now what would it be and why?

TELLY:  I wish I was going to the theater in the 70’s! I wish I could have seen all those original Bob Fosse / Michael Bennett shows. Also – I wish I could have seen what NY was like in those disco lovin’, down and dirty, Studio 54 days. 

4. Mets or Yankees?

TELLY:  Yankees. 

5. New York or L.A.?

TELLY: NEW YORK…. All the way. LA is a great place to work, but NY is where my heart is. 

Thanks for your time, Telly!  It was great getting to know you a little better!


(Photos courtesy of Telly Leung.  Visit tellyonline.net for more on Telly.  Also, visit allegiancemusical.com for more on the show.)

Before you go...

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Jeff

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It Gets Better, Doesn't It?

Today is Spirit Day at It Gets Better.  As a show of hope and unity, they are encouraging suppoters of LGBT youth to wear purple.

As the National discussion about bullying in general, and the bullying of gay teens continues, we continue to take steps forward and steps backwards on the quest to full acceptance of everyone's differences.  There have been several events this week related to that very subject, and not too surprisingly, the theatre community is a part of it all.

Step Forward:  Actor Zachary Quinto, star of stage (Angels in America, 8) and screen (TV: Heroes, Film: Star Trek) came out this week.  When a celebrity publicly identifies him or herself as homosexual, the hope is that by living a more honest life in the open, it will encourage others to do the same.  And in this case, good has come from bad.  Mr. Quinto explained that part the impetus for his "coming out" was the tragic suicide of gay teen Jamey Rodemeyer.  They had something in common, too; they have both created video messages for the It Gets Better Campaign.  That fact makes the young teen's death even more sad.  Quinto himself admitted that that link made it even more crucial for him to go to the press to make his lifestyle announcement.  All of us, of course, hope that by living an open and honest life, that being gay will become that much more "business as usual" and commonplace.  And by making it more "normal," the hope is that closeted gay people will come out instead of being bullied and taking their own lives.  And so, with another famous actor out, perhaps his brave admission will make it that much easier for even one more person.  Perhaps the life and death of bullied teens like Mr. Rodemeyer will have not been entirely in vain.



Zachary Quinto and Christian Borle in the recent
 off-Broadway production of Angels in America 


Another Step Forward:  Long time supporter of The Trevor Project, Daniel Radcliffe, star of Broadway's How to Succeed in Business Without Really Trying and the Harry Potter film franchise and producers of the revival held a benefit performance of the show on October 6th, where a portion of ticket sales, as well as the proceeds from a post-show auction of memorabilia were donated to The Trevor Project.  That organization provides a 24/7/365 crisis hot line and suicide prevention programs for LGBT youth.  Their efforts raised over $15,000, and, thanks to Givenik.com, you can still contribute.  A portion of each H2$ ticket purchased at that site will be donated to that very worthwhile organization.



A Step Backward: And lest we remain too pleased with ourselves, the very reason why continued awareness and programs aimed at youth - high school students particularly - need to continue, and frequently, happened at just such an event in Hartford, Connecticut.  A pair of local organizations sponsored a presentation of the role-reversal musical, Zanna, Don't!, and when a scene in the show had two male cast members kissed, a group of students protested by walking out of the presentation.  They were identified as members of the football team (they were wearing their jerseys), and it is pretty clear it was planned by at least some of them, as the school had notified all students, parents and faculty of the content in advance, and students who objected were not required to attend.  (A more detailed explanation of the entire situation can be found HERE.)  Talk about irony.



These organizations sponsored the Hartford, CT
production of Zanna, Don't!


A Possible Step Forward?: The above situation is EXACTLY why the folks over at Glee need to continue and finish the Karofsky bullying/closeted athlete storyline.  Many gay teens who are struggling look to the show for relief and acceptance.  (Jamey Rodemeyer and recent Canadian suicide victim, Jamie Hubley, both publicly said that the show offered them hope.)  And I'm willing to bet at least one of those protesting football players is struggling with it himself.  Please keep helping.  Bring back Karofsky... we could all learn a lot from him.  All of us: gay athletes, athletes and others learning to accept gays, and ultimately, all students understanding and accepting each other no matter what.  Glee can, and should, be a new step forward.

In the meantime, let's celebrate two theatre-related steps forward!

For more information:
http://www.givenik.com/
http://www.thetrevorproject.org/
http://www.itgetsbetter.org/



Jeff
3.052

In Defense of Glee

Caution: The following blog contains Glee Season 3 plot spoilers.

Much ink and TV time has been spent discussing the Season 2 downfall of Glee.  And many an ultimatum has been thrown around ("If things don't get better, I'm going to stop DVRing Glee!", etc.).  OK, we are now a mere 2 episodes into the new season - a season that creator Ryan Murphy and others have promised would highlight the main characters, and have more focused plot lines.  In other words, Glee 3.0 will try to be more like Glee 1.0, which assumes that Glee 2.0 was all that bad.

The truth, for me at least, is that season 2 was a little uneven.  And it has some of the very best moments of the entire series so far.  Coach Beiste (Dot-Marie Jones).  Sue (Jane Lynch) nurturing Becky (Lauren Potter).  Bullies (Max Adler) dealt with.  Every scene with Brittany (Heather Morris).  Every second Chord Overstreet was on screen.  Artie (Kevin McHale) getting to walk for Christmas.  The Dalton Academy Warblers.  "Thriller."  Gwyneth Paltrow.  Darren Criss.  The return of Finn (Corey Montieth) and Rachel (Lea Michele).  The amazing identify yourself (the t-shirt episode) episode.  And there were some things I could have done without.  Rocky Horror (I don't really care for the show).  Carol Burnett and Sue marrying herself (WTF?).  John Stamos (great guy, lousy encroaching character).  The positives far outweigh the negative for me.



Chord Overstreet as Sam



"Born This Way" (The tee-shirt episode)



"Thriller"


Still, one can understand the "sophomore slump."  Season 2 means it isn't new any more.  The surprises - which often cover the flaws - are fewer.  And writers are damned if they do, damned if they don't.  Trying to change characters can be dangerous.  Too much trying to advance the plots in new directions can be deadly.  And yet, not changing characters and making them grow can be just as deadly.  And if the plots get too repetitive, God help the show.

So, over the past couple of weeks, I've been reading the comments left by people after articles about each of the two first episodes of Season 3 and have looked over the chief complaints about Season 2.  I've narrowed it down to their four main comments about last season and a couple of their thoughts about season three (already)!

1.  There is too much Rachel/Kurt and not enough of the others! 

OK.  There is a lot of Rachel and Kurt (Chris Colfer).  But you go with your strong suit.  They are just that: the most talented, the most complicated, the most broken.  All of that adds up to the most compelling characters.  BUT... let's not forget the transformation of Puck (Mark Salling) into a decent, if challenging, guy.  The emergence of Artie... Two girlfriends!  The football team!  Losing his virginity!  Just about every male solo in New Directions numbers.  Not bad.  How about the "Asian Invasion"?  Mike Chang (Harry Shum, Jr.) is a dancing machine and too sexy for a high school kid... and Tina (Jenna Ushkowitz) backing up everyone - not just on stage, but she's the go-to girl for advice and unity.  The emergence of Santana (Naya Rivera) and Brittany as full, multi-dimensional characters.  Quinn's journey from pregnant teen to top of the high school heap, and her downfall... two interesting supporting characters in Lauren (Ashley Fink) and Sam... two down to earth adults with a major plot line - Kurt's dad and Finn's mom (Mike O'Malley and Romy Rosemont) ...  All of that and still too much Rachel and Kurt?  Hmmmm....



Quinn and Santana



Tina and Mike

2.  More Finn!  More Blaine! 

Let's go back to number one first.  More Finn and More Blaine by necessity means More Rachel and More Kurt.  You can't have your cake and eat it, too...  Finn figured prominently in most of the story lines last season, and Kurt wouldn't have grown without Blaine.  And, gay or straight, isn't it nice that there are two couples who are stable AND interesting (Mike/Tina and Kurt/Blaine).  It is hard to think of any plot that didn't involve one or both of these great guys.

3.  Too much singing and dancing! 

Um, it is about a glee club.  Singing and dancing are what they do.  And you knew going into it that it was also a musical comedy, so characters will burst into non-glee club numbers, too.  Sub-complaint: too many show tunes.  I think it is pretty 50-50.  But... (see below)

4.  The show is not realistic! 

Um, it is about a glee club. Singing and dancing are what they do. And you knew going into it that it was also a musical comedy, so characters will burst into non-glee club numbers, too. 

Not to mention that TV is not supposed to be entirely realistic.  If you want real life watch the National Geographic channel.  For me, Glee is a one hour break from the bad news on TV, the Internet and Twitter, from the lousy government, global economic woes, earthquakes, hurricanes and war.  But, even given the musical numbers, there is a certain grounding to the show that is very much based on reality.  Have you been in a public high school recently?  It is more like Glee than not like Glee. 

And that age old complaint: things get tied up in one or two episodes.  Not true.  But even so, each individual episode wraps up all neat and tidy, true enough.  It is TV, folks.  We need closure before the next show starts!  Not real?  Well, each episode clearly takes place over several days, but is cut to fit in 44 minutes.  And in reality, a lot of high school issues come and go in one school day.  Have you forgotten that?  Still, if CSI can get a DNA test result in 15 minutes instead of a week or more and we can accept that, why can't we believe that a group of kids can spend all day in class, practice sports and cheerleading, and still light, costume and choreograph multiple production numbers a week?  I wish real life worked like that.  I tell you, my job would be so much more fun if me and the other cubicle dwellers dropped our wireless keyboards and burst into a full dance number to "The Brotherhood of Man"!

And the two biggest complaints so far about Season 3?  Here they are:



Coach Beiste, Artie and Emma

 1.  Why West Side Story? 

Well, why not?  It is a show the general public at least recognizes and can draw parallels from.  The cast is ideal for that show.  It is a show high schools can actually do.  (My favorite comment at Rolling Stone asked why they couldn't do something more modern like American Idiot or Rock of Ages?  Well, that would certainly blur the line between show tunes and pop songs.  But can we talk content?  As cool as it would be, the story of American Idiot would never be approved (not to mention all of the language and situational cuts that would have to be made) by a school.  And they have already done most of "the score" of Rock of Ages.  Plus, do we really need to see Mercedes as a madame or Quinn having dirty men's room sex with Puck or another gay character for Kurt to play?  You can't have it both ways...

Rachel and Finn

Kurt and Blaine

2.  There hasn't been enough singing and dancing/where has Finn been? 

Wait... before there was too much singing and dancing?  Now "15 minutes between songs is unbearable?"  How else can we focus on plots that don't concern Rachel directly?  And Finn's lack of being "in front" also allows others to take up some screen time... like Artie, Coach Beiste, Emma and Mike Chang?  Not to mention Mercedes' new boyfriend, Rachel's dad's, Mike's parents, Emma's parents...

Coach Beiste and Mr. Hummel

Will and Emma

It has been exactly 88 minutes into the new season.  We have 20 more episodes to see where everyone ends up.  And with Kurt, Finn and Rachel graduating, I'll bet toward the end, we will see more not less of them.  Still, today's news of the hiring of a new actor who will actively pursue Blaine should make things interesting even if it does mean more Kurt.  And let's not forget The Glee Project winners who will figure into major story lines concerning Brittany, Santana and Puck will take up a lot of screen time, too.  Add more Idina Menzel, a juicy plot for Matthew Morrison, and hopefully an interesting end to the Sue-runs-for-office plot, and I think the outlook is terrific.

One thing:  I really miss the slushies...

I'll bet, too, that no matter what, some people won't be happy.  Too much Sue, not enough Sue.  Too much Rachel, not enough Rachel.  Too much singing, not enough singing.  To you, I say stop watching Glee, or at least stop complaining about it.  If you are taking time to complain, then, one, you care enough about it to express an opinion, and, two, you are still watching it!



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Jeff

RANT and RAVE: The Replacements

This week, two high profile cast replacements were named for two hit Broadway shows.  One of them was so high profile, it was on the news!  When was the last time THAT happened (Spider-Man, not withstanding)?

The first, though, came the announcement that Adam Pascal would be replacing Tony-nominee Chad Kimball at the end of October in 2010's Best Musical, Memphis.  My first thought was, "really??"  I mean, there is no doubt that Pascal is talented and is a near expert in conveying chemistry.  Look at him and Daphne Ruben-Vega in RENT (or with Anthony Rapp) for that matter.  Or he and his AIDA co-star, Heather Headley - smoking hot and romantic, too!  That look in the final scene...mmmmm.  Yes. Mr. Pascal should have no trouble with the smouldering sexy chemistry with equally sexy and smouldering Montego Glover.

I guess I'm having trouble picturing the quirky, vulnerable, innocent-yet-worldly-wise Huey Calhoun in Adam Pascal.  Of course, he is an actor, a very good one, even if his prior roles have a certain similarity that is not really in this new character.  I guess I'll give him the benefit of the doubt.  Just as I did with Kristin Chenoweth when she departed from her "norm" and tackled (beautifully, in my opinion) a challenging out of the box role.  Instead, maybe I should wish him well and warn him that as much as critics (and some fans) bemoan the fact that actors rarely venture beyond the expected, they rarely embrace the brave ones that do.  Good luck!

The really high profile replacement announcement came today at a press conference live from Sardi's.  Looks like Nick Jonas will be Daniel Radcliffe's permanent replacement in How to Succeed in Business Without Really Trying.  It is also now clear that producers are looking to fill the seats at the Hirschfeld with Tweens and their parents.

Let's not forget that the first replacement is actually Glee's Darren Criss, who will also appeal to the tween set, just as Radcliffe did before, and Jonas will after.  But there is a bit of an error in thinking here, and it has nothing whatsoever to do how well all three of them do or will do in the role.  I adored Mr. Radcliffe in the role, and have no doubt that both Mr. Criss and Mr. Jonas will do just fine, finding their own way with the role.

The error in thinking, I think, is that tweens and their parents will embrace these newcomers in the same magnitude, i.e. SRO crowds.  Radcliffe has something neither Criss nor Jonas has: international stardom cultivated by over a decade of growing up before our very eyes in the most successful movie franchise, based on the most popular book series of all time.  He played a character on film that kids and their parents read in those books.  Arguably as many adults kept up with Harry Potter as their kids did.  The appeal of Daniel Radcliffe is multi-generational, backed up by a star turn performance.

A pair of Finches: Darren Criss and Nick Jonas

Criss, with just a three week run, should draw the hordes of Glee-Kurt/Blaine fans, keeping interest and numbers high.  And, to some extent, Glee fans are multi-generational just as Potter fans are.  I bring this up because IF tweens are the target audience, someone has to BRING them to the theatre.  Radcliffe and Criss give parents as much reason to come to the show.  Now, I admit I know the least about the current appeal of Nick Jonas.  How much appeal does he have without his other brothers?  How much will his performance in Les Miserables, which divided fans and critics alike, effect the B.O. for H2$?  Will parents want to sit through the show just to keep their kids happy?  And does Jonas have the same appeal/acceptance by tween boys AND girls as Radcliffe?

Since Mr. Jonas has the most Broadway experience of the three  - he's been on the boards in Annie Get Your Gun, Beauty and the Beast and Les Miserables - I don't think his ability onstage is even a question.  But I do wonder about his ability to draw news-making crowds.

All bets are off if they can find a nostalgic appeal for the parents when the recast John Larroquette.
Do you plan to see Adam, Darren and/or Nick?  Write in and let us know!


Rate this blog below and leave your comments here, by email at jkstheatrescene@yahoo.com or Tweet me!
Jeff
3.009

REVIEW: Glee: The 3D Concert Movie

Review of Glee: The 3D Concert Movie. 1 hour, 35 minutes. Starring Dianna Agron, Chris Colfer, Darren Criss, Ashley Fink, Lea Michele, Kevin McHale, Cory Monteith, Heather Morris, Chord Overstreet, Amber Riley, Naya Rivera, Mark Salling, Harry Shum, Jr., Jenna Ushkowitz. Special appearance by Gwyneth Paltrow. Choreography by Zachary Woodlee. Directed by Kevin Tancharoen. Rated PG.

Grade for Glee fans: A 

For the uninitiated: watch the show first, then get the concert on DVD.

Being one of only two people in a movie theatre, the other being my friend Mike, helped erase the potentially creepy feeling we might have had being the only adult men at Glee: The 3D Movie Concert. But there we were at a matinee of the film, 3D glasses on, smiling like fools and tapping our feet. The truth is, we are both Gleeks, and we both really enjoyed the movie. Will it convert those who haven’t joined the Gleek ranks? Not likely, since it gives real fans everything it wants, and doesn’t try for any more than that. But it could put to rest any doubt as to the talent of the cast. They are as terrific live as they are on an edited TV program.

This film is a mock-umentary that chronicles the teenage hormones, fragile egos and incredible talents of the New Directions glee club as they hit the “big time” playing to a sold-out arena. Between signature numbers like “Don’t Stop Believin’” “Don’t Rain on My Parade” and “The Safety Dance, “ we bear witness to Rachel’s drive and insecurity, Artie’s bravado and insecurity, and Brittany’s sweet ignorance and lack of insecurity. Plus we get some smiles from Mercedes, Blaine, Kurt, Puck and Santana. And all of it very tongue and cheek, and all with the TV series’ sharp wit and irony. Gone, though, is the “losers are people too” aspects of these characters. Instead, the glee kids of McKinley High School in Lima, Ohio are big stars, basking in the glow and adoration of the masses.

The masses, as director Kevin Tancharoen skillfully reminds us, are the real life Rachels, Finns, Brittanys and Kurts. The people who are or were on the fringe of mainstream popularity in high school, the displaced, the bullied… the losers. In between the fantasy world of high tech Glee concert numbers are real documentaries of the very people Glee aims to entertain and emulate. A little person who is also a championship cheerleader, who used to fear never being seen as just another girl, rises above it all to compete for Homecoming Princess with a cute jock boy on her arm. Then there is young woman with severe Asperger Syndrome, unable to maintain normal friendships or cope with social situations, whose attachment to the character Brittany allowed her to recognize that she could, in fact, find friends who could accept and love her. Meeting the actress (Heather Morris) apparently - unfortunately, we don’t see this meeting - helped her find the strength to not only socialize in small groups, but to attend a Glee concert with thousands. And there is the young man who, in the privacy of his own journal professes his first love for another young man, only to find his life turned upside down when his best friend shares that journal with the object of affection, who in turn shares it with the school. It is now several years later, and the young man who was forced to come out in 8^th grade, has not only survived, but thrived, as a well-adjusted gay man. He pointedly tells us that had he had Glee and Kurt as role models, his life would have been that much easier to cope. Glee, he says with a very appealing low key honesty, validates him, and he hopes, everyone else who is walking in Kurt’s and his footsteps.

I re-read the previous paragraph and can only imagine what you are thinking: of course these hard luck stories are told to support the Glee promotion machine. And maybe that’s the surface explanation for their inclusion. But it also makes one realize that at its heart, Glee is there for all of us who felt like a loser or still do. That idea is also much more subtly supported by the “man on the street interviews” of concert goers, who tell us why they love the show, which characters are their favorites, and how the show touches their lives. Yes, I said “subtly.” Because nothing says “relatable” like shots of the most diverse audience I think I have ever seen - young, old, gay, straight, handicap-able people, parents, teens, small children, and every race on Earth. The pretty “Quinn” girls are there, singing joyfully along with the chubby “Laurens,” the lady killer “Pucks” right next to the refined “Kurts.” And there are legions of fans sporting the signature “defining words” t-shirts from the “Born This Way” showstopper, and the hundreds of Dalton Academy Warblers fans decked out in private school blue and red blazers and striped ties. In short, Glee is blissfully all-inclusive, and even a fantasy concert brings that all-inclusive mass of humanity to its nearest stadium in droves.

And that concert, actually made to feel more “you are there” with its skilled use of 3D filming, is a true Glee-fest, with all of the best numbers from seasons one and two carefully recreated and then amped up to fit the stadium size with special effects that support, but don’t overwhelm the kids we are there to see. To be honest, I would have liked to see more of Kurt (Chris Colfer), Quinn (Dianna Agron) and Sam (Chord Overstreet), but beyond that, fans of the show won’t be disappointed. A fine balance of production numbers and smaller, one-character numbers are presented. Puck’s (Mark Salling) tribute to plus sized ladies, “Fat Bottomed Girls,” is as spectacular for its simplicity as the all out sexy vamping in Brittany’s (Heather Morris) “Slave 4 U” is for its amazing choreography and production values. Gwyneth Paltrow does a guest shot as Holly Holiday, substitute teacher, and her signature, “Forget You,” while Mike’s (Harry Shum, Jr’s) truly breath-taking dancing skills and Artie’s deep soul vocals are displayed in “P.Y.T”. Theatre fans will thrill to Rachel’s (Lea Michele) stunning “Don’t Rain on My Parade,” and future Finch Blaine’s (Darren Criss) lead vocals on “Teenage Dream/Raise Your Glass.” And Mercedes (Amber Riley), Santana (Naya Rivera) and Tina (Jenna Ushkowitz) all shine in fun numbers where they are featured, too.  To a person, the whole cast looks to be having the time of their lives. That joy of performing radiates off of the megaplex screen as it does the flat screen at home.

That a huge arena concert film can still feel as personal as a television program is a testament to the quality of this film. And maybe the best number of the show, “Born This Way” is as exciting to watch as it is heartening to be reminded that we are all, in fact, Gleeks. I had no reason to feel creepy after all.

P.S. - Be sure to stay through the Slushy-filled credits with those 3D glasses on, and stay for the encore number, too. You will not be disappointed.

(Photos and movie logo from 20th Century Fox and Fox Television)

Rate this blog below, and leave your comments here, by email ay jkstheatrescene@yahoo.com, or Tweet me!
Jeff
2.361

Thanksgiving in May

During the heat of summer, a lot of businesses haul out the holly and decorate for Christmas in July sales.  I always find the combination of oppressive heat and songs about snow and hot chocolate to be jarring and soothing at the same time.  How about you?  Anyway...

I got to thinking about the other big holiday at the end of the year, Thanksgiving, and figured out that six months ago today was Thanksgiving 2010, and six months from yesterday is Thanksgiving 2011.  So why think about all of this?  Well, I suppose, if we stop and think about it, we have a lot to be thankful for, considering that this time last week, millions of people were bracing for the end of the world...

The Tony Awards:  Will it be The Book of

Mormon or The Scottsboro Boys' night?

Because the end of the world did not happen, I am thankful for the following things:

• The Tony Award winners will be announced.  How cruel to know the nominees and not the winners?
• We found out that Hines Ward is the Season 12 Dancing with the Stars champion!  (Chelsea Kane was by far the best dancer - let's get her in a Broadway show - and Kirstie Alley was the most improved dancer in many season, and at 60, has inspired a lot of people, I'm sure, while Hines was the perfect storm: improvement, decent dancing, charisma beyond what should be legal, and a fan base that is enormous.)

(TOP) The Glee cast between takes atop the TKTS booth

(BOTTOM) Cheyenne Jackson and Matthew Morison

• Glee had a great finale!  Go Kurt and Blaine!  Go Finn and Rachel!  You'll get 'em next year, New Directions! (Now, producers, if you could work in a shirtless showdown between Matthew Morrison and Cheyenne Jackson, I'd be more than thankful.)
• I got to listen to the Broadway Cast Recording of Women on the Verge of a Nervous Breakdown more than once and fall in love with the show all over again.

Women on the Verge: "Madrid is My Mamma"

• I still have a chance to see the last Broadway theatre I haven't been in: The American Airlines Theatre.
• Anything Goes still has time to record their cast recording.
• Wicked can still be made into a film.  (Lea Michele and Diana Agron, please!)
• You can still vote for the 1st Annual Awards That Tony Forgot!
• I have more chances to Tweet!
• And most of all... we will get to see if Spider-Man: Turn Off the Dark will finally open and be a huge hit!

But, seriously, considering everything that is actually happening in the world, I have much to be thankful for.  My heart goes out to everyone affected by the tornadoes, earthquakes, tsunamis, volcanic eruptions, nuclear meltdowns, war...  Maybe it is a good idea to take stock twice a year instead of each November.  These days, just surviving is enough for giving thanks.


Comments?  Leave one here, email me at jkstheatrescene@yahoo.com or Tweet me!
Jeff
2.268

Glee: Best Revival of a Musical?

THE FOLLOWING BLOG CONTAINS PLOT SPOILERS ABOUT THE OCTOBER 26TH EPISODE OF GLEE.

What an interesting two weeks for Glee, the nation's hottest TV show.  In the two weeks since an original episode aired, the show has been all over the news. 

In typical fashion, the media can't let a good thing go on without stirring up ugly.  Not that the Glee kids didn't have a part in it.  I'm talking, of course, about the racy and controversial photo shoot for GQ which had the three principal stars (Cory Monteith, Lea Michele and Diana Agron) in "hyped-up" - read sexualized - versions of their characters.  Parents cried, "Foul!"  How would they ever explain this to their 9 year old daughters who are rabid gleeks?  Easy.  It is an adult magazine that your 9 year old has no business even knowing about, let alone seeing.  And never mind that all of the cast is actually adult, a fact that the show even plays up occasionally.  Sure, the pictures are a risque, and maybe keeping an image of wholesomeness would have been wiser.  But, really folks.  If you want your kids to be completely sanitized, stick to the Disney Channel.  Oh, wait... Britney, Christina, Justin and now little Miley all started there.  And look what became of them.

How interesting that this real life issue of Glee pushing boundaries comes just before an episode where the boundaries of art in education are pushed and questioned.  Yes, this is the week where the kids do The Rocky Horror (Glee) Show.  And boy, was it a winner!  Let me preface what follows with the this:  I appreciate Rocky Horror and I enjoyed the Broadway revival, once, but I am not a huge fan, nor fan enough to understand some of the references I am sure the show made.  That said...

Managing to legitimately work in 7 songs from the stage show/film, many in context of the actual script, the show really managed to give us the fullest flavor allowable by 8PM TV on broadcast television.  Purists, I'm sure will take issue with lyrics changes, but they are perhaps the most realistic part of the episode.  After all, schools are frequently censored in regards to the plays and musicals they produce.  Kurt (Chris Colfer) even mentions the Texas production of RENT that got shut down.  I won't go on a self-righteous diatribe about how I feel about that, but I am glad that the show recognizes the realities of putting on any show, let alone Rocky Horror.

Each number, even out of context of the show, was wonderfully staged, endlessly clever with camera angles and just edgy enough to keep everyone interested.  I knew it was going to be cool with the opening number done just like the film - red lips and nothing else - and a cast list of credits that featured only the character names!  Of course, "The Time Warp" stands out as the most well known song, and they pretty much gave the audience what it expected.  But there were 3 excellent surprises that really made the episode extra fun for this viewer.  First, John Stamos' number was absolutely thrilling.  Man, can he sing and dance!  Why the hell didn't this guy show up in Bye Bye Birdie?  Second was Amber Riley's amazing "Sweet Transvestite".  How great that they worked in some non-traditional casting and recognition that she rarely gets to be a "lead."  And most/best of all...Jayma Mays finally gets to really sing!  And be HOT!  Her "Toucha Toucha Touch Me!" was sublimely funny, sexy and right on given the context of the scene.  GIVE HER MORE TO DO!

Also nice, though, was that the show gave equal time to issues that would definitely come up and need to be addressed.  The constant barrage in the media of the female form and body image is well known, documented and addressed, even as it continues.  But finally someone has taken the other side of the coin and recognized that body image is a serious issue for guys, too.  The show played it mostly for laughs (and more sightings of Chord Overstreet's fabulous body) but the truth is even the most confident male has issues with how he is perceived.  Being cool and not being perceived as gay are addressed frequently in the show, but it was nice to see the two guys watching out for each other, helping each other, and most importantly confiding in each other that they worry about how they look.  I bet a kid made to wear the "traditional" Rocky costume, no matter how terrific he is in shape, would be embarrassed.  And any kid (in this case Monteith's character) who feels he is "big" would agonize over doing a scene in his underwear.

Then there is the parental issue, succinctly but pointedly addressed by Harry Crum's character, whose parents had an issue with him wearing a bustier and playing a transvestite.  And the utter lack of support from a school administrator, leaving the teacher and the kids out to dry should any trouble come up was shamefully true.  In another surprise, for once, even though her intentions were characteristically self-centered, Sue Sylvester's (the always wonderful Jane Lynch) indignant speech of the week was spot on and well-stated, whether you agree with her point or not (I can agree and disagree with what she said, depending upon the given situation about arts in public schools).  Of course, in typical (in the best possible way) Glee fashion, the real points being made turn everything on its ear.

Will (Matthew Morrison) did the show for all the wrong reasons, and he got called on it.  The result?  A private for glee club members only performance, and an important character growth scene for he and Emma, one that will likely bear fruit in the long run.  And Sue said exactly the right thing for all the wrong reasons.  The result?  She got another one over on the glee club, but also lost her personal goal, a local Emmy.  Such is the life on Glee.

Let's hope next year they tackle another musical.  But for now, this might just be the Best Revival of a Musical in 2010.

(Photos from FoxTV.com and TVGuide online, and all are copyrighted by 20th Century Fox Television and Ryan Murphy Productions.)

Comments?  Leave one here, email me at jkstheatrescene@yahoo.com or Tweet me!
Jeff
2.57

On Hosting the Tony Awards

Hmmm... so they got Sean Hayes to host the Tonys this year.  At first glance, a logical choice - he is, after all, headlining a major Broadway musical, Promises, Promises.  And America - all of America - knows who he is.

Or do they?

Most of America doesn't follow Broadway (A heinous sin, right? But true, nonetheless) so choosing him will seem odd to a majority of folks who might be inclined to watch the awards show just based on the few ads CBS will inevitably run. (Emphasis on "few.")  And odder still, America knows him for exactly one thing - "Just Jack" McFarland of the long-running Will and Grace.  And who was Jack?  The hilarious, if sadly stereotypical, gay guy second banana, who got a lot of mileage out of jokes at the expense of the Broadway community.  Yes, I know Jack is fictional.  Yes, I know Mr. Hayes didn't write his material, and yes, I know many a Broadway diva took a spin on the sit-com - Chita, Donna, Patti, Cher, Madonna, Bebe, all with Broadway cred.

But what are we talking about Mr. Hayes for these days?  Coming out in The Advocate and that ridiculous Newsweek article.  Will this help (I hope) or hurt (it could backfire)?  What happens when Mr. Hayes starts to talk like Mr. Hayes, not "en fuego" Jack?  Will the majority of the audience that actually tunes in buy it?  Talk about the irony...will they buy a straight acting gay guy best known for being a flamboyant theatre queen?  (BEFORE YOU WRITE... I am using all the words the fool at Newsweek did to make a point, not to support him.  Get it?)  Will they think that he is pandering to a stupid article and/or that CBS is trying to cash in on controversy?  Again, it depends on who, aside from the Broadway loyal is watching, and if they follow the latest celeb gossip.
That said, I think Mr. Hayes will likely do a fantastic job.  He is incredibly funny, sans Jack, exudes warmth and sincerity, and his speaking voice could melt marshmallows.  If they let him sing, it could definitely add to the cache, or better yet, have him accompany himself on the piano.  He is an accomplished musician, too.  But wait!  Which show ISN'T nominated, and therefore unlikely to get a spot on the show?  Why, Promises, Promises, of course!  If CBS, the Tony Awards producers, and the show's producers were smart, they'd let Sean Hayes open with a number from Promises, Promises, establishing him instantly as more than "Just Jack."

Of course, they'd be REALLY smart to have had him co-host with his co-star, Kristin Chenoweth, who is as hot as you can be these days - Broadway star, TV star, great guest star on TV's best show, Glee, recent Emmy winner, best-selling recording artist and author.  Everyone has heard of her, and she and Sandra Bullock seem to be sharing the title of "America's Sweetheart."  Let them duet up a storm... something from their show, maybe a send-up of something from Wicked... plus, talk about showing solidarity publicly against the magazine that shall not be named.  To me, that would have been smart money... co-hosting with a Broadway star who also happens to be an everything star.

(Another idea: they could have had the cast of Glee co-host, most of them have Broadway credits... or maybe just Lea Michele and Jonathan Groff... with surprise hosts Matthew Morrison and Jane Lynch.)

I have a feeling that a lot of execs are patting themselves on the back for finding Mr. Hayes.  They might even be thinking they have found the next Neil Patrick Harris.  Maybe they have; if so I will print this out and eat it on camera for all of you to see.  But Sean Hayes is not NPH.  First, NPH is a hot commodity, with a CURRENT hit TV show, a great emceeing reputation, and more than one theatre credit to his name - he's been seen nationally in RENT, and on PBS in Sweeney Todd, plus Broadway.  And he was already America's kid back when he was Doogie Houser, MD.  NPH is in mid-career upswing. 

Sean Hayes hasn't been on TV or anywhere of note in more than three seasons.  He might have been a better choice after winning a Tony, doing more than one show, guest-starring on a variety of shows in a variety of roles.  And get him on Glee!

Don't get me wrong, I love Sean Hayes.  I can't tell you how much I am looking forward to seeing his stage debut.  And I even think he'll be a good host.  But since the viability of the Tony Awards being on network television is up for debate within minutes of each show being over, I think there were some better alternatives than "Just Sean."

Comments?  Leave one here or email me at jkstheatrescene@yahoo.com.
Jeff

Bits and Pieces for 05.09.10

HAPPY MOTHER'S DAY!  (I love you, Mom!)

Almost a week has passed since the Tony nominations, and we all survived - ok, most of us (sorry Enron people).  I suspect that soon, there will be a few more open theatres, though.  But that's progress!  And there are a lot of new shows waiting in the wings...

Don't forget to vote in this week's Tony poll!  Every week this month there will be a different one, and all the results will be revealed at the beginning of June.  This week's poll  ends at noon, one week from today.

WHAT YOU MIGHT HAVE MISSED THIS WEEK!

Click on these links to get to last week's blogs:

• April's Poll Results:  The Next Theatre Should be Named for...
• 2010 Tony Nominations: Initial Reaction
• The Best Musical of 2010 Didn't Get a Single Tony Nomination
• To Tour or Not to Tour: That is the Tony Question
• The Late, Great Lynn Redgrave
• YouTube on Broadway: The Tony Nominees, Part I

OUT-RAGEOUS

I am still seething from the Newsweek article that was published recently called "Straight Jacket" by Ramin Setoodeh, reportedly a gay writer, who writes at length about the "real reason" Promises, Promises got bad reviews was a reason no reviewer would mention: that Sean Hayes is too gay to play the role.  Aside from the fact that he and Katie Finneran were the only things the critics liked about the production, and that argument therefore makes no sense, to even imply that gay men can't play straight is as ridiculous as it is offensive.  Setoodeh goes on to say that Jonathan Groff is so "queeny" on Glee that it is "distracting."  But then he praises Groff for his chemistry with Lea Michele in Spring Awakening.  The difference?  When he was in Awakening, Groff wasn't "out"; since he joined Glee he is somehow lacking.  Doesn't that negate his initial argument?  Groff was gay whether the public knew it or not and convincingly played straight.  He goes on to say that it matters less for openly lesbian actors because straight men think its cool that two women have sex together.  Then he negates the advocacy and talents of both Portia diRossi and Cynthia Nixon: the former is ok in her role on "Better Off Ted" because she is playing a broad "straight" caricature, while the latter was already firmly successful before she came out.  Um, does anyone who watches Sex and the City  NOT believe that Miranda is straight?  They even addressed that very issue in a late season episode before it went off the air.  He also says thay Neil Patrick Harris is believable straight for the same reason as diRossi.  And suspiciously missing from this article is one of the hottest (as in popular, relevant) current Broadway actors, Cheyenne Jackson, who has always been out, and has successfully played "straight" men in every show he's done on Broadway.   Sounds to me like this writer can't enjoy any film, TV show or play without conjuring to mind who the actors sleep with offstage.  Disturbing.  Very disturbing.

The link to the full article is here.

I almost didn't even comment on this at all because it just draws more attention to an issue that is still a problem, despite huge strides made for equality.  A homophobe with an audience (and he is rumored to be gay himself) is a dangerous homophobe.  But I had to comment because of a certain response from one Kristin Chenoweth, who continues to display professionalism, spunk, and a particularly sharp balance that does not separate gay values from Christian values.  Below is a link to her response, published in its entirety on Broadway.com.  Thank you, Kristin.

Read Kristin's response here.

BROADWAY BY THE NUMBERS
42: Days until Broadway Bares 20!
35: Days until the Tony Awards!  (36 days until all the bitching about who lost starts...)
2: The number of significant changes to previously announced casting: Kelsey Grammer isn't playing Albin for 6 months after 6 months as Georges (disappointing); instead of the the cast of Race staying through August 23, everyone but Richard Thomas is leaving in June. (Race is still running?  Who does their publicity?)  Anticipation of Tony nods that didn't happen?
1: The number of show casualties since the Tony nominations came out - bye bye Enron.

Happy Birthday Last Week to:

5/2: Christine Baranski
5/3: Bobby Canavale
5/4: the late Audrey Hepburn
5/5: Louisa Flaningam
5/6: the late Orson Welles
5/7: the late Anne Baxter
5/8: Janet McTeer






Comments?  Leave one here or email me at jkstheatrescene@yahoo.com
Jeff