Fathers and Sons I

Fathers and Sons I

When I read over the complete cast list for the upcoming Broadway musical, Beaches, a name stuck out to me, and I had to look up this actor. Was he related to another famous stage star? He is, indeed, related - he is the son of the other guy!The results of that search created a rabbit hole of searches for similar pairs, and then today's article.

Here are nine fathers and sons that have been and/or are on America's stages, some at the same time on the same stage, others, years apart.

So who started this?

Mark and Ben Jacoby

Mark, the dad, has had a long, illustrious career, including acclaimed performances in Show Boat and The Phantom of the Opera, the show that I first saw him in, the 1986 revival of Sweet Charity. Most recently, he played Neil Diamond in A Beautiful Noise. Today, he appears, albeit briefly, in Chess. His son Ben, who is in the upcoming musical Beaches, has also played a music icon, playing Barry Mann in Beautiful. He also, like his father, appeared in Phantom, as Raoul in the national tour of that show.

Maurice and Lionel Barrymore

Dad Maurice is the father of a true American acting dynasty. All three of his children are likely more famous than he is. His daughter, Ethel, has a Broadway theater named for her, and his other son, John, was also an accomplished stage actor, and is Drew's grandfather. But we chose son Lionel for this article because he might be the most familiar to you, as a star of the beloved film, It's a Wonderful Life. He also had a storied career on the Broadway stage, with over 20 credits, including the title role in Macbeth, and his debut in 1900, in Sag Harbor. His father had many vaudeville and Broadway credits, most famously in 1895's The Heart of Maryland and 1899's Becky Sharp. He led a sensational, news making life right up until his death in a mental institution at age 55.

Herschel and Michael Bernardi

This father and son duo have experience playing the same show, Fiddler on the Roof. Dad Herschel, of course, played Tevye as a replacement in the original production, and as the original lead in the 1981 revival. He also created leading roles in Bajour and as the titular Zorba. His son, Michael, was Mordcha in the 2015 revival, understudying the role of Tevye.

Zero and Josh Mostel

Another even more famous Tevye - the one who started it all - Zero, also has a son with an amazing acting career. That son is Josh, has 8 main stem credits, including My Favorite Year and Getting Away With Murder. His film career includes Jesus Christ Superstar (as King Herod), City Slickers and Sophie's Choice among many others. Zero also famously created the role of Pseudolus in A Funny Thing Happened on the Way to the Forum, and starred in the acclaimed Ionesco play, Rhinoceros. He won Tony Awards for all three of his most famous roles.

Tomorrow: 5 more Father/Son acting duos including another theatre namesake, and three currently active pairs!

Friday 5: 5 Favorite Classic Musicals of the 1950s

5 Favorite Classic Musicals of the 1950s 

A few Fridays ago, we talked about 5 classic plays that have stood the test of time and remain as entertaining and relevant as ever. When I tried to make a list of just 5 classic musicals, I came up with about 50, So, instead, I decided to cut off the time period to just the 1950s - we can always look at other decades another time. As it is, I can think another 10 shows from that period that also have staying power and influence the genre still.

  

5. Damn Yankees (1955): The very definition of musical comedy, I named this one as a reminder that a novel-based musical can be clever and timely and be about an unlikely topic. In this case, baseball... a sport... it makes me feel like a jock. It also brought the world such classics as "(You Gotta Have) Heart" and "Whatever Lola Wants," and a great - if extra and nonsensical - dance number, "Who's Got the Pain?" And special thanks to Bob and Gwen! Firmly rooted in its own time - was it the Rent of its day? - it still holds up. 

  

4. Guys and Dolls (1951): It's hard to imagine a Broadway musical list of any nature that doesn't include this Frank Loesser gem. Very much of its time - ballet sequences (production numbers of yore), a romantic couple, a B-plot comic couple, larger than life characters, and a twisty plot that ends up with everything just as it should be - Guys and Dolls is the cream of that classic crop. This masterpiece had brilliant performances of Grade-A material and a practically perfect score. Decades from now, this will still be produced and revered.

  

3. My Fair Lady (1956): One of the great musical partnerships of all-time, Lerner and Loewe, created one of Broadway's longest-running and oft-produced shows. Though the book is pretty much Pygmalion verbatim, the Shaw classic seems even better with the addition of musical numbers. And what a doozy of a song list! It boasts such timeless songs as "Wouldn't It Be Loverly?", "I've Grown Accustomed to Her Face", "The Rain in Spain", "Get Me to the Church in Time", "On the Street Where You Live" and "I Could Have Danced All Night." 

  

2. South Pacific (1950): The writing team of Rodgers and Hammerstein is synonymous with ground-breaking musical theater. Sure, their 40s show, Oklahoma! is credited with advancing the art form, but I think South Pacific is their biggest achievement. Exotic locales, a tribute to the heroes of World War II, an epic love story, and a controversial social message combine to make this one a cut above the rest. Is it any wonder it won the Pulitzer Prize For Drama? The ballad, "Some Enchanted Evening," is top tier, and you can't beat such show-stoppers as "I'm Gonna Wash That Man Right Outa My Hair" and "There Is Nothing Like a Dame." But it's "You've Got to Be Carefully Taught" that remains as relevant today as it was nearly 75 years ago.

  

1. West Side Story (1957): Perhaps one of the biggest leaps forward in the genre in the Golden Age, is Jerome Robbins and Leonard Bernstein's masterpiece based on Romeo and Juliet, a timeless classic in its own right. With racism, gang violence, and social injustice at the forefront, the team further pushed the envelop with a completely danced overture/prologue, gritty realism and violent murder as hallmarks of the production. Its influence is still felt today. Oh, and it introduced a young hot shot lyricist named Stephen Sondheim to the world. 

Play It Again: Guys and Dolls' "Luck Be A Lady"

Play It Again: Guys and Dolls'

"Luck Be A Lady"

For this new series, Jeff has invited me to choose some classic Broadway show tunes and compare versions of these songs from several different cast recordings. Wherever possible, I’ll link to the songs on YouTube, where I listen to most of them myself.

This week I considered four recordings of “Luck Be a Lady” from Frank Loesser’s first big hit show, Guys & Dolls. I’ve long been a big Loesser fan, but focusing on this song brought me a new appreciation for his ability to create a character through very precise choices in melody and lyrics. The words in particular often force a staccato-like effect that helps convey Sky Masterson’s nervous tension as he places a high-stakes bet with the aim of winning the girl of his dreams. The four singers heard here take different approaches to the song, but all of them do a terrific job capturing this tension.

My overall favorite version is marked with two stars (**); one star (*) is used to indicate that a particular version stands out in terms of singing, orchestra, sound, or other miscellaneous qualities.

ORIGINAL BROADWAY CAST (1950) - YouTube

Sky Masterson: Robert Alda

SINGING: Alda’s confident vocals closely follow the alternately clipped and sustained contours of the lyrics, but sound slightly stodgy compared to his successors. He does get a little looser in a few places (like the passage beginning with “a lady doesn’t wander”). The chorus sounds quite good.

ORCHESTRA: The overall texture of the orchestration doesn’t vary much over the years. It features lush chords in the introductory verse, with jaunty strings and feverish brass punctuation in the main song (using multiple instruments and playing styles for added color), ending with a final brass blast.

SOUND: About what you’d expect for the pre-stereo, early-LP era; the lead vocal is quite clear, but the orchestra is extremely soft and muffled, and the ensemble vocals are fuzzy.

MISCELLANEOUS: The four versions are pretty similar in tempo (fast) and, except for the movie soundtrack, identical in melodic and lyrical content.

MOTION PICTURE SOUNDTRACK (1955) - YouTube

Sky Masterson: Marlon Brando

SINGING: Brando’s (undubbed!) vocals are conversational and slick, not particularly polished but very appropriate for the character and the show. He can carry a tune, although in a lower key than the other singers, and he brings a great deal of personality to it (I especially noted the shifts in tone as he sang the oft-repeated title throughout the song). The ensemble here doesn’t sing with him counterpoint, but only shouts out a few impatient comments near the end of the song.

ORCHESTRA: Similar to the original, but I think I hear some more woodwind in the mix.

SOUND: The actual soundtrack recording sounds pretty terrible, so the link above is for a clip from the movie instead. The sound is still extremely subdued, as if it’s being performed in a theater while you’re still in the lobby.

MISCELLANEOUS: This version skips the middle section (the chorus part), inserting an extended instrumental passage in its place.

BROADWAY REVIVAL CAST (1992) - YouTube

Sky Masterson: Peter Gallagher

SINGING: Gallagher’s singing is very accomplished and energetic; like Alda he favors precision over personality, but he does manage to convey character through his accent and Bogart-like vocal timbre. The ensemble is wonderful, and sounds by far the best singing with the soloist.

ORCHESTRA: The orchestra sounds rather luxurious for 1990s Broadway; the orchestration is similar to the original, but with a bit more motion and additional effects, like tremolo in the string section.

*SOUND: Very clear and well-balanced; I would prefer a little more sense of stereophonic space, but that seems to have gone out of fashion long ago on cast recordings.

*MISCELLANEOUS: This track includes a bit of atmospheric scene-setting at the beginning. 

**STUDIO CAST RECORDING (1995) - YouTube

Sky Masterson: Gregg Edelman

*SINGING: Edelman manages to convey personality while remaining note-perfect via an extremely controlled vocal style (in this respect, his singing here is reminiscent of Larry Kert in his prime). His choices to extend or pointedly cut off particular notes create character and variety, and he adds interesting touches by emphasizing certain words (like “STICK with me baby”). 

*ORCHESTRA: There’s nothing really new here, but the huge orchestra allows for extra layers to come through clearly, such as the woodwind “sighs” near the beginning of the song proper.

SOUND: Generally clear and balanced, but the orchestra sounds a little echoey.

MISCELLANEOUS: No additional observations!

Broadway in a Box CD Review: Guys and Dolls (1992 Revival Cast)

Broadway in a Box CD Review:

Guys and Dolls (1992 Revival Cast) 

At Christmas a few years ago, Jeff gave me a copy of Broadway in a Box: The Essential Broadway Musicals Collection. He has now given me the opportunity to use his blog to share my impressions of each of the 25 cast recordings contained in the set, in alphabetical order.

This week’s entry is about the 1992 Broadway revival recording of Guys and Dolls.

This vivid recording of the Frank Loesser classic comes as a most welcome burst of joyous energy. Having only seen a high school production (long, long ago) and the film version, this CD reminded me what a fun and fascinating score this show has. I hope we get another revival on Broadway soon.

As with so many classic musicals, especially when only heard and not seen on stage, the biggest impression is made by the comic leads, in this case consisting of Nathan Lane (as Nathan Detroit) and Faith Prince (as Miss Adelaide). While Lane’s musical material is somewhat limited, he makes the most of it in “The Oldest Established” and “Sue Me,” two numbers that let Nathan Lane be Nathan Lane without overdoing his familiar schtick.

Similarly, I can easily imagine that the heavily stylized role of Miss Adelaide might become grating rather than endearing in lesser hands, but Prince never lets that happen. Much like Ellen Greene as Audrey, Prince inhabits the character as a real person rather than a caricature, making the accent and affectations seem genuine. It goes without saying that “Adelaide’s Lament” is a highlight of the recording.

The romantic leads are just as good, even if they necessarily make a bit less of a splash. Peter Gallagher works his usual calm and confident magic as the racketeer-turned-missionary Sky Masterson. I particularly appreciated his quiet, tender moments, especially “My Time of Day,” which provides a respite from the sometimes manic pace of the rest of the show. Josie de Guzman, as his love interest Sarah Brown, is as good a match for him on the recording as she is in the story. Her late duet with Prince, “Marry the Man Today,” is another highlight.

When the lesser roles are filled by the likes of J.K. Simmons (Benny Southstreet) and Victoria Clark (Martha), you know you’ve got a stacked cast. Simmons and his frequent scene partner Walter Bobbie (Nicely-Nicely Johnson) do a great job establishing the setting and tone of the whole show at the outset. Among the secondary characters, another standout is John Carpenter (Arvide Abernathy), who nails his solo song, “More I Cannot Wish You.”

As I read over this review, I realize I’ve heaped nothing but praise on everyone involved. And indeed I struggle to find fault with any aspect of this recording. The show itself is only my third favorite Frank Loesser show, and I don’t think it offers nearly as much social commentary (for lack of a better term) than The Most Happy Fella or How to Succeed…. But if you’re looking for a fun, raucous romp, you can’t do much better than this.

Next up is the Original Broadway Cast Recording of Gypsy.

Thanks, as always, Mike! Loesser is, I think, somewhat underappreciated. Just look at the three scores you mentioned. Each are brilliant in their own way, each are critically acclaimed. Yet each are virtually dissimilar, existing in their respective worlds. What other musical theater writer can say that?

I mean, you can spot a Kander and Ebb song or a Sondheim song a mile away!

--Jeff

One That Got Away: Guys and Dolls (1992)

Even though I saw and enjoyed the National Tour of this production, I still count the 1992 Broadway revival of Guys and Dolls as One That Got Away. Actually, that National Tour is why I count the Broadway version I realized that I had really missed out. Odd as it may sound, I knew practically nothing about the show. Now, however, I count it among my favorites of the classic Broadway canon.

First of all, I love how the Broadway production was both classic and modern edge: lavishly designed, a large orchestra, and a large company. Director Jerry Zaks and choreographer Christopher Chadman brought a sharp, zesty performance to the stage.

Second, I realize now that I missed out on a cast full of actors either at the peak of their powers or on the cusp of a now legendary Broadway career. From principal cast to the ensemble, the company list is star-studded. Nathan Lane, Peter Gallagher and, in a star-making turn, Faith Prince led the cast, with a supporting cast including Walter Bobbie (Chicago), J.K. Simmons, Ernie Sabella, Ruth Williamson, and an ensemble full of Tony winners (present and future) and famous dancers. They include: Scott Wise (Tony-winner, Jerome Robbins' Broadway), Victoria Clark (Tony-winner, The Light in the Piazza), Nancy Lemenager, JoAnn M. Hunter, Mark Esposito, Timothy Shew (Les Miserables, The Visit), Cory English (Damn Yankees, Hello, Dolly!) and David Elder (Titanic, 42nd Street).

So, as I said, despite having seen a version of this production, I definitely feel like I missed out!

Guys and Dolls opened on April 14, 1992 at the Martin Beck Theatre and closed on January 8, 1995 following 33 previews and 1,143 performances. The production was nominated for 8 Tony Awards, winning 4: Best Revival, Best Direction (Jerry Zaks), Best Scenic Design (Tony Walton), and Best Actress in a Musical (Faith Prince).

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The Friday 5: 5 Classic Original Casts I Wish I'd Seen

A lot of theater fans say they wish they had seen the original cast of The Glass Menagerie, including the legendary performance of Laurette Taylor. I could go for that myself. Truth is, I've had the great privilege of seeing many an original cast over the years. Still, there are several I wish I had seen. Here are 5 such classics:

The Friday 5:

5 Classic Original Casts

I Wish I'd Seen

All 5 of the shows on this list are among my all-time favorites. So why did these make the cut?

Fiddler on the Roof
I would have loved to be among the first to hear my favorite opening number, "Tradition." And to witness the legendary Zero Mostel's epic Tevye would be a dream come true. Or how about his duet with Maria Karnilova, "Do You Love Me?"

Guys and Dolls
One of my favorite scores! Man, I would have loved to have seen Vivian Blaine do "Adelaide's Lament!" And is it me, or is Robert Alda's voice intoxicating?

Man of La Mancha
Okay, maybe this is on here because it was the first show I ever did. But seriously, I would love to have seen the original environmental production. And then there's the great Richard Kiley belting out "The Impossible Dream (The Quest)." Sigh.

My Fair Lady
I can't imagine the thrill of being among the first to see this Golden Age show. The full orchestra, the lavish production values. But Rex Harrison and Julie Andrews, right?

West Side Story
Speaking of thrills, I can't imagine how exciting it must have been to hear that score fresh before having memorized every single note. Would I have loved it from the start? And the chance to see Larry Kert as Tony in person...those black and white clips from The Ed Sullivan Show are great and all, but the real thing live in front of me??!

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