Favorite Designs: Onstage Cars

Over the years, I've had the opportunity to a lot of really awe-inspiring set pieces. The 80s alone were a treasure trove - flying chandeliers, helicopters and a giant levitating tire, to name but three. But it always delights me when a car or truck appears onstage. I mean, my first thought is always, "How did they get that up there?" Of course, usually it is more a facsimile of a vehicle than the real thing, but pretty cool nonetheless. 

Favorite Broadway Designs:

Onstage Cars

One of my favorite cars to appear onstage makes a very dramatic entrance. The music swells, and out it rolls carrying three of the show's main characters. The car itself is dramatic - an old relic and emblem of wealth long past. I'm talking, of course, about Norma Desmond's limousine, carrying her to Paramount Studios and her glorious (and tragic) "return."

Sunset Boulevard

(Production Design by John Napier)

More well known for its other major form of onstage transport, this show does have a car in it that makes quite an impression. It is a vintage Cadillac, symbolizing the materialistic wealth associated with The American Dream. As it moves downstage toward the audience, carrying a faux Miss America, The "Engineer" begins to hump the hood, letting everyone in the room know just how he feels about America.

Miss Saigon

(1991: Scenic Design by John Napier)

Miss Saigon

(2017: Scenic Design by Totie Driver and Matt Kinley)

This next vehicle plays so much a part in this musical, that it is in the title, and is definitely a character in the show. The other characters just can't keep their hands off of it!

Hands on a Hardbody

(Scenic Design by Christine Jones)

Finally, this may be the most famous Broadway car of them all. It starts out as a hunk of junk, but over the course of the school year, the guys fix it up real nice and name it "Greased Lightning." Go, Greased Lightning!

Grease

(1972: Scenic Design by Douglas W. Schmidt)

Grease

(1994: Scenic Design by John Arnone)

Grease

(2007: Scenic Design by Derek McLane)

#2574

Are There "Hit Songs" in Broadway Misfires?

We love it when we hear from you, especially when you come up with some great ideas that add to the Broadway discourse. Well, following our list of favorite flops of the past decade, and again after we posted our review of the great new book Broadway Misfires, many of you commented on how often shows that ultimately fail for whatever reason have excellent songs in them. I'm sure we could go through each show in that book, for example, and come up with at least one song that could have been a hit in spite of any show's demise. Maybe it's a great opening number that perfectly sets up the show to follow. Or perhaps it's a particularly strong, heartfelt ballad. Then again, maybe it's a great finale number. In any case, we'll happily accept your suggestion and take a look at of few of those songs. We'd love to hear from you for your own favorites! Email or text us with the song, the show, and why you love the song. We'll be sure to add it to our next article. Thanks in advance!

Are There "Hit Songs" 

in Broadway Misfires?

"Selling Out" from American Psycho

Music and lyrics by Duncan Sheik

Here's an opening number that really sets up the main character for the audience, and brings us immediately back to the wealth and status obsessed 80s which is the setting for the show. It's driving beat and catchy lyrics demand our attention. The song manages to feel very 80s and the staging fairly screams MTV. It was quite the thrill.

Favorite Lyrics:

The streets are humming
I can feel what's coming
I say uh-oh, uh-oh, uh-oh

You see me gliding
But there's something hiding
In the shadow, shadow, shadow

I may be dealing
With a nameless feeling
Uh-oh, uh-oh, uh-oh

But everyone keeps saying
That I look amazing
So I don't know, don't know, don't know

I want it all
(Uh-oh)
The next transaction
Come on sell it out
(Uh-oh)
You're my next distraction
Come on baby sell it out

"Someone Else's Story" from Chess

Music by Benny Andersson and Björn Ulvaeus, lyrics by Tim Rice and Björn Ulvaeus

Depending on which recording or staging you've heard/seen, this song may be sung by different characters in different spots in the plot. No matter where in the score it is or who sings it, this song is an emotional powerhouse. I first heard it as part of the Original Broadway Cast Recording, sung by the incomparable Judy Kuhn, whose interpretation of it remains the gold standard. Here's a song I love to sing in the shower, or when I want to wallow a little and crank up my stereo.

Favorite Lyrics:

I could be
In someone else's story
In someone else's life
And he could be in mine
I don't see
A reason to be lonely
I could take my chances
Further down the line
And if
That girl I knew should ask my advice
Oh I wouldn't hesitate she needn't ask me twice
Go now!
I'd tell her that for free
Trouble is, the girl is me
The story is, the girl is me.

"Keep Your Hands On It" from Hands on a Hardbody

Music by Trey Anastasio and Amanda Green, lyrics by Amanda Green

We loved this charming musical from start to finish, but the closing number really was the perfect finale. Not only did it wrap up the story of each character we had gotten to know, but it's anthemic build sent the audience out on a real high, in search of our personal goals out there for us to grab hold of. And I could totally hear this on a contemporary country station.

Favorite Lyrics:

I have never been the kind of guy who can put his faith in luck.
I was stubborn, I was patient, I wouldn't leave without this truck.
My daddy always told me,
"Don't wait for your lucky ship.
You can have it, go and grab it, just don't ever lose your grip."
If you want something keep your hands on it, hold it close to you,
Don't let go one bit, could be someone else may have plans on it.
So if you want something
Keep your hands on it, just keep your hands on it.

From the moment I first saw you, I knew I had to make you mine.
There were other guys with hungry eyes just waiting in a line.
I grabbed you and I held you close, the first chance I could get.
Chills went through me, held you to me, and I haven't let go yet.
If you want something, keep your hands on it.
Cling with all your soul, when you find your fit

It may break your heart, it may hurt a bit, but if you love something,
Keep your hands on it. If you love something, keep your hands on it.

#2413

Short Broadway Run? Saw It Anyway!

I'm sure we can all agree that we all have favorite shows that ran for far too short a time. And we probably all have seen shows that we can't believe ran at all. Over the years, I've seen plenty of short running flops. I got to see the notorious Glory Days before it came to Broadway. The same with Grind and Teddy and Alice. And I've seen plenty of shows on Broadway that were financial flops, many of those ran under 100 performances (I'll bet you have, too!).

Here are the 20 Broadway shows that I got to see with the shortest runs in descending order of number of official performances. Together, they have run a collective 574 performances, an average of 28.7 performances. One of them was a limited run; four were revivals; three I actually saw more than once; two I saw on Broadway and in pre-Broadway runs. Only five of them I hated completely.

Tuck Everlasting

• Smile (saw pre-Broadway, too) - Lunt-Fontanne Theatre - 11 previews, 48 performances - Featured Jodi Benson, Veanne Cox, Jeff McCarthy
• Patti LuPone On Broadway (limited engagement) - Walter Kerr Theatre - 8 previews, 45 performances - Featured Patti LuPone
• Mame (revival) - Gershwin Theatre - 7 previews, 41 performances - Featured Angela Lansbury, Anne Francine, Jane Connell
• Tuck Everlasting - Broadhurst Theatre - 28 previews, 39 performances - Featured Andrew Keenan-Bolger, Carolee Carmello, Michael Park, Terrence Mann

Wonderland

• Chronicle of a Death Foretold (saw it 3 times!) - Plymouth Theatre - 28 previews, 37 performances - Featured Tonya Pinkins
• Bonnie and Clyde - Gerald Schoenfeld Theatre - 33 previews, 36 performances - Featured Laura Osnes, Jeremy Jordan, Claybourne Elder
• Wonderland (hated it) - Marquis Theatre - 30 previews, 33 performances - Featured Janet Dacal, Karen Mason, Kate Shindle
• Shenandoah (revival) - Virginia Theatre - 15 previews, 32 performances - Featured John Cullum, Thomas Cavanaugh

The Times They Are A-Changin'

• Lysistrata Jones (saw off-Broadway, too) - Walter Kerr - 34 previews, 30 performances - Featured Patti Murin, Josh Segarra, Jason Tam, Alex Wyse, Barrett Wilbert Weed
• Jekyll and Hyde (revival, hated it) - Marquis Theatre - 15 previews, 30 performances - Featured Constantine Maroulis, Deborah Cox, Teal Wicks
• Scandalous: The Life and Trials of Aimee Semple McPherson (hated it) - Neil Simon Theatre - 31 previews, 29 performances - Featured Carolee Carmello, George Hearn, Candy Buckley, Andrew Samonsky
• The Times They Are A-Changin' - Brooks Atkinson Theatre - 35 previews, 28 performances - Featured Michael Arden, Lisa Brescia, Thom Sesma, John Selya

Dr. Zhivago

• Hands on a Hardbody (saw it twice!) - Brooks Atkinson Theatre - 28 previews, 28 performances - Featured Keith Carradine, Hunter Foster, Keala Settle, Jay Armstrong Johnson, Allison Case, Jon Rua
• Gentlemen Prefer Blondes (hated it) - Lyceum Theatre - 16 previews, 24 performances
• Doctor Zhivago (hated it) - Broadway Theatre - 26 previews, 23 performances - featured Tam Mutu, Kelli Barrett, Paul Alexander Nolan, Tom Hewitt
• Leap of Faith - St. James Theatre - 25 previews, 19 performances - Raul Esparza, Kendra Kassebaum, Leslie Odom, Jr., Jessica Phillips

The Story of My Life

• Getting Away With Murder - Broadhurst Theatre - 31 previews, 17 performances - Featured Christine Ebersole, Terrence Mann, John Rubinstein, Chuck Cooper, Nancy Opel
• The Best Little Whorehouse Goes Public - Lunt-Fontanne Theatre - 28 previews, 16 performances - Featured Dee Hoty, Scott Holmes, Casey Nicholaw
• High Fidelity - Imperial Theatre - 18 previews, 14 performances - Featured Will Chase, Jenn Colella, Andrew C. Call
• The Story of My Life - Booth Theatre - 19 previews, 5 performances - Featured Will Chase, Malcolm Getz

#1913

Why Some Movies-To-Musicals Work (I Think)

What ingredients made Waitress a hit?

If we could define the perfect formula for guaranteeing that a musical will be a smash hit, we'd all be very wealthy, wouldn't we theater fans? I suppose it makes good business sense to try and replicate success. Because of that, we seem to live in a Broadway world where every producer is looking for the next Mamma Mia and Jersey Boys. That's why we have Escape to Margaritaville, On Your Feet and Summer. (Not to mention this season's Head Over Heels, The Cher Show and Ain't Too Proud...)

Musicals based on films have a much longer history. The 1970 Best Musical, Applause, is based on the film All About Eve, and the 1984 Best Musical, La Cage aux Folles, is based on a film of the same name. Both shows had stars in them. Both had huge production numbers. And both were updated from their source material. But for every Thoroughly Modern Millie there's a Ghost or Rocky; for every The Lion King there's a Tarzan.

Applause: HIT     Ghost: The Musical : FLOP

I think that a producer would stand a better chance of a hit musical based on a film if they go with small, independent (many times foreign) films. These film to stage musicals since 2001 were hits that recouped their investments, were critically acclaimed award-winners:

Hairspray : HIT

Billy Elliot: The Musical : HIT

• The Full Monty (770 performances, 10 Tony nominations)
• Hairspray (2642 performances, 13 Tony nominations, 8 Tony Awards including Best Musical)
• Billy Elliot: The Musical (1312 performances, 15 Tony nominations, 10 Tony Awards including Best Musical)
• Once (1168 performances, 11 Tony nominations, 8 Tony Awards including Best Musical)
• Kinky Boots (2250 performances to date, 13 Tony nominations, 6 Tony Awards including Best Musical)
• Waitress (977 performances, 4 Tony nominations)

Of course, for all of that success there were also such flops as Women on the Verge of a Nervous Breakdown, Hands on a Hardbody, and Amelie.

Amelie : FLOP

Women on the Verge of a Nervous Breakdown : FLOP

All of those hit shows have things in common: strong scores, solid book and directions, great production values. The same can be said, of course, for all great musicals, though. Other things they have in common are that creative ways were found to effectively musicalize non-musical material, and, perhaps most importantly, they aren't as heavily burdened with pre-conceived notions and expectations from a film's built-in fan base.

The Band's Visit : TBD

Truth is, there is no sure-fire hit musical formula. There's no accounting for public taste, and even the best constructed show can still flop (see anything by Sondheim). Still, if I were a betting man, The Band's Visit will ultimately be in the hit column. And we already know that this season will have its share of film adaptations - from Pretty Woman to Tootsie. What will hit and what will miss? Only time will tell.

Bet you dollars to donuts that some producer is reading every historical biography on the shelves looking for the next Hamilton. 

The Friday 5: 5 Favorite Musicals Based on Movies

The much-anticipated (and much-chatted about) Broadway-bound musical Moulin Rouge! began previews this week, and I'm going on Saturday! I'm super excited! And it got me thinking about my favorite musicals based on films.  I wonder if Moulin Rouge will join this list? Here are 5 of them (presented alphabetically, not ranked):

THE FRIDAY 5:

5 OF JEFF'S FAVORITE

MUSICALS BASED ON MOVIES

The Band's Visit

Award-winning film turned into award-winning musical! It's the newest one on the list, and it is already one of my all-time favorite shows.

 The Full Monty

I guess I have a thing for small foreign films turned into Broadway musicals featuring scores by David Yazbek. I loved this warm, funny musical that bared it all - literally and emotionally.

The Goodbye Girl

I loved this show so much. I laughed my ass off and despite what many people think, I thought Bernadette Peters was amazing, and Martin Short was sublime. "Paula (A Love Song)" remains one of my favorite duets.

Hands on a Hardbody

A show that really got the short end of the stick. Masterfully staged, especially considering that the story hinges on hours of people standing still! The score was wonderful, and the cast (including Keith Carradine, Jon Rua, Allison Case and the always wonderful Jay Armstrong Johnson) was top notch.

Once

Surely, I cannot be the only person who cries every single time he hears "Falling Slowly," right. And, again with the small foreign film... there's a trend there...