The 2023 - 2024 Broadway Top 40 Voting Part 1

As we begin the new Broadway season, and now that we've all had a chance to get familiar with the new, original scores from last season, we are looking to create a countdown of your favorite songs of the 2023 - 2024 season!

The 23/24 Broadway Top 40 Part 1:

Here Lies Love, Back to the Future & Harmony

  

HOW IT WORKS: Over the next several weeks, we'll post surveys that list the songs from 3 shows, and you'll vote for up to five from each show. All original songs from last season will be eligible (no pre-existing songs!). After voting is completed for all of them, we'll compile a Top 40 Countdown, based on your most selected choices. Your vote will be counted as soon as you tap the "Submit" button!

NOTE:

• When you look at the poll below, you may see your email listed, with a hyperlink to the chance to change addresses. We cannot see your address, only you can, and we are NOT collecting any data on you.
• You may vote once per email address each week. 

This poll will end at 5 pm (Eastern) on Friday, September 6th.

The Closing of Here Lies Love: A Few Thoughts

The Closing of Here Lies Love:

A Few Thoughts

It is always sad when a show closes. Years of work and hundreds of jobs gone with a producers' notice and a notice taped to the door. Sad but true, it happens more often than not. It is particularly hard to take when it's a show you really like and its run is short. 

Such is the case with Here Lies Love, scheduled to close November 26th after 33 previews and 149 performances. Tradition dictates that the producers announce with a message of gratitude, remorse and optimism. I found this one to be all of that and more.

They are correct that the production was a very creative, boundary-pushing enterprise. The design team really went above and beyond, basically creating a new space in an old one. They even found amazing ways to make the immersive experience completely immersive no matter where your ticket put you in the theater. And even if the creative team is about as white as you can get, the fact that they made sure to 100% cast Filipinos to tell a Filipino story is not only authentic, but very laudable.  They proved it can be done.

But after all of that, they offered a statement of... blame? excuse?

"But the reality is, succeeding on Broadway means not only producing excellent work with artistic merit—it also means creating the audience for it. And how much time it takes to find and grow new audiences is out of sync with the tight time frames for audience-building and awareness."

We all know what they mean. You have to have a big and growing audience before the money runs out. Now, I'm no producer, and I'll admit that I don't know all of the ins and outs of opening and running a Broadway show. Still, I have to wonder what the decision-makers thought about. 

Was it

• the fact that they were peddling a show that was 10 years old already?
• the fact that the story involves a controversial figure, whose family is again making headlines for coming back to power - is it timely or out of date?
• the fact that the show might resonate with US audiences facing a fascist crisis, and those audiences might be weary of the whole mess, or worse are offended by it because they might see themselves in it?
• the fact that the whole live musicians thing got more press than the show itself did, and painted a negative picture of the production?
• the fact that it cost an estimated $22 million dollars with a rumored $700K nut (That nut was surpassed only 7 times since opening night, and they've never had a sold-out full week.)?
• the fact that upwards of $200 - $300 a ticket for "the ultimate way to experience" is pricey, but on top of that, you either have to stand, packed like sardines, while constantly being moved around, watching out for your feet being run over or being trampled to death, or sit in the "the gallery" where you look straight out at the action, with limited views of anything not right in front of you, thereby missing a great deal of the action?
• the fact that the best actual seats cost over $500 (you get twice the show at Hamilton, and you are definitely closer there!)?
• the fact that going to even the most exclusive clubs is still cheaper and lasts more than 90 minutes?

I know, I know. Supply and demand, blah blah blah. Well, there isn't much demand. Let's be honest. The audience for a show about the rise and fall of Imelda Marcos performed as a nightclub act in a musical idiom that is not the most popular currently is a hard sell to begin with. And she's no Eva Peron. And didn't the people who are really interested in that history already see it in a more intimate venue ten years ago? 

As a child of the 70s and 80s, who grew up when all of this happened and Studio 54 was the be all and end all of entertainment, it would seem that  I'd be the target audience. Add to that I am part of that shrinking demographic: frequent attendance at Broadway shows, willing to travel to do it. I make a decent income. Now I always fill out those surveys when they ask, so someone on Broadway knows I'm out there ripe for the picking. I've yet to receive any special mailers, emails, anything to court me to see this show. 

Who are/were the producers "audience-building" to? Were they trying to get younger, hipper people to turn out in droves - I'm pretty sure they were, hence the "guest DJ after-parties." Again - clubs where you can stay longer (and not see what color Arielle Jacobs' underwear is up close) are considerably cheaper.

All of this is to say they have a supply. There isn't a demand. The price hasn't changed. Of course, they've painted themselves into a corner. By grossly overestimating the demand and price of "the experience," they can't really do much with the prices now and have any hope of making their nut. 

It is always sad when a show closes too young. And it is sad that there won't be many more chances to see this extraordinary production. If you do have a chance to see it, you really should. It's worth every penny.

Review: Here Lies Love

Review of the Saturday, September 9, 2023 evening performance at the Broadway Theatre in New York City. Starring Arielle Jacobs, Jose Llana, Conrad Ricamora and Reanne Acasio. Concept, music and lyrics by David Byrne. Music by Fatboy Slim. Additional music by Tom Gandey and Jose Luis Pardo. Scenic design by David Korins. Costume design by Clint Ramos. Lighting design by Justin Townsend. Projection design by Peter Nigrini. Sound design by M.L. Dogg and Cody Spencer. Choreography by Annie-B Parson. Developed and directed by Alex Timbers. 90 minutes, with no intermission.

Grade: A

There was a moment during Here Lies Love that hit me like a ton of bricks. During one of the many dance-y tunes, we were all on our feet - from stage floor to rear mezzanine - clapping, bouncing, waving our hands in the air, and doing a call and response. Almost immediately upon sitting down, we are reminded of the horrific events of the Marcos regime in the Philippines: graphic photos and statistics surrounded us as a tape of him doing something nefarious played over the sound system. There, in the darkness, I realized that we had been laughing and dancing while a despot was killing his own countrymen. I haven't really stopped thinking about that moment, and it reminded me of Cabaret, and the song "If You Could See Her." In that show, we are drawn in to laugh and cheer the antics of the Emcee dancing with a girl in a gorilla suit. He ends with the line, "She didn't look Jewish at all." Different historical situations, sure, but both shows make this point: if we get too caught up in ourselves and don't pay attention to what is really going on, ruthless leaders will take over. A cautionary tale for 2023 in the United States, right?

As the story of Imelda Marcos plays out in the discotheque setting so brilliantly created by David Korins, lit by Justin Townsend, and surrounding us with a visual cacophony of video and still imagery, along with theatrical projections by Peter Nigrini, one loses all sense of time and place once you enter the Broadway Theatre. It is absolutely stunning to see, and any pictures you have seen do not do it justice. It takes immersive theater to a new level. Clint Ramos' costumes do some pretty creative tricks as well as some really heavy lifting in support of the themes of the show. For me, though, the best technical feat of the evening was M.L. Dogg and Cody Spencer's vibrant sound design. Not a word was missed, and the effects were perfection. Considering all that is going on in this fast 90 minute extravaganza, that is a major accomplishment.

Perhaps the biggest accomplishment here, though, is the logistically tight staging by Alex Timbers. There are so many moving parts, it is hard to imagine the level of rehearsal it must have taken. No stranger to spectacle or unique staging, Timbers has really grown with this piece, going way beyond flashy and creating a series of vignettes fraught with symbolism and building to a tragic, albeit inevitable, conclusion. Together with choreographer Annie-B Parson, whose seamless blend of period styles and Broadway moves are constantly exciting, he has taken great pains to include everyone; there is something to see at all times no matter where you sit or stand. That they have so carefully staged this production with virtually no bias only heightens the dramatic intensity; I found myself oddly invested in some very bad people.

The book and score are, naturally, a big part of its success. Told through the pop idioms of disco music, this sweeping epic of love and politics spanning decades has been expertly pared down into 90 minutes of heart-stopping theatrical bliss by the astute lyrics by David Byrne set to a no-skips score by Byrne and Fatboy Slim. The vocal arrangements by Kimberly Grigsby and Justin Levine add layers to each number.

Though many cast members have been with the show through one or more of its prior iterations, the company performs with an urgency and vibrancy as though it was happening for the very first time in front of us. The ensemble is everywhere all at once in this cavernous space, and they are chameleon-like in their ability to change characters in a minute or less.

There are several standouts in the company, including Moses Villarama (above), making his debut as the DJ, who gets the party started and guides the action throughout. But it is when he takes the stage, acoustic guitar in hand, and begins the moving finale, "God Draws Straight" that really shows off his talents. Add him to the list of up and coming Broadway folks to keep an eye on. Reann Acasion brings a lovely solemnity as Aurora Aquino with the powerful funeral processional, "Just Ask the Flowers." As long-suffering maid and confidante to Imelda, Estrella, Melody Butiu (right) earns our sympathies with a moving performance; her grief at being betrayed by someone she has loved for years is palpable.

The trio of leads - Conrad Ricamora as Ninoy Aquino, Jose Llana as Ferdinand Marcos, and Arielle Jacobs as Imelda Marcos - are absolutely spectacular. We saw both Ricamora and Llana at the Public several years ago. Time has been very good for both; their portrayals are richer and more detailed. The result is a fierce dynamic between political and relationship foes. New to the mix is golden-voiced Jacobs who is a revelation here. Her metamorphosis from innocent country girl to the queen of excess is remarkable. We are captivated from the moment she appears, making her fall from grace that much more compelling. By the time she appears Evita-like on a balcony, complete with signature white dress pleading "Why Don't You Love Me?" it feels like cathartic karma.

Top: Arielle Jacobs and Jose Llana

Left: Conrad Ricamora   Right: Jose Llana, Arielle Jacobs & Company

I enjoyed the Public Theater production, but I was leery of how it would be in a much larger space. It is actually much better. Really, Here Lies Love is the best of both worlds for me: it is a fun, ultra-theatrical piece, dazzling and dance-y, but it is also a thought-provoking work with serious themes and something to say about the times in which we live.

NOTE: We sat in row H of the mezzanine on the house right side. We could see at least 95% of the action directly, and what we couldn't see was replicated directly opposite of the area we couldn't see. It was also a great vantage point to see a full stage picture. And there were several moments where the action happened directly in front of us - things people on the floor and VIP seats had to watch on screens. (They were also rush seats that we walked right up to the box office and got for the evening performance, more than an hour after it opened. YMMV.)

📸: M. Murphy and E. Zimmerman

2023 - 2024 Broadway Musical Logos: Here Lies Love

The second musical of this very new season has begun previews on Broadway at the Broadway Theater! What better time then to take a closer look at its show art?

2023 - 2024 Broadway Musical Logos:

Here Lies Love

Having seen this show a few years ago at the Public, I can already say that the current logo really does capture the essence of the production, and the color pallet this time around is a welcome upgrade from previous iterations. (You may have noticed that when I highlight things in our articles I often use a similar red, orange, yellow and purple combination frequently.) When you see how it all works together on the marquee, it really works! Somehow, it is a warm and inviting and gloriously disco dance party all at once.

Font-wise, these bubble letters that remind one of neon tubes fairly scream 70's-80's entertainment. They are simple, easy to read letters, and yet complicated enough to hold your gaze in those precious seconds where how key art is seen equals a purchase decision. Wisely, the powers that be recognize that, depending on the form and format of how the key art is arranged/used, color matters. 

The centerpiece of this key art, the mirror ball, signals a couple important things: era: disco, genre: dance party. And importantly, this is a musical. As far as the actual content, the entirety of the image reveals nothing about the subject matter. All you know is that it's a fun time period, and a musical whose title includes the word "love" sounds like a good time. Smart.

Let's be honest, David Byrne and Fat Boy Slim are likely more of a draw than the subject matter of Here Lies Love. Remember how I said, "the entirety of the image reveals nothing about the subject matter?" Well, that's not really true. For the savvy Broadway theater-goer who researches the shows they see, there's some pretty cool nods to the Philippines - locale of the show - cleverly hidden in plain sight. The national flag of the island nation includes an 8 beam sun and 3 gold stars in a triangle formation. Note that there are 8 beams of light emanating from the disco ball and three golden spots of light forming a triangle around that ball. 

And then there's the tagline: "The Revolutionary Musical Experience." What a great play on words! "Revolutionary" implies new, exciting, different. All great things for a show. It also implies an overthrow of a government, which the show is definitely about. The show is definitely one you experience - you are part of it. The tagline is one that lures you in and gives you an "in the know" smarts after you see it.

In short, this logo is pretty brilliant. It is vibrant and fun - it will look great on posters, magnets and t-shirts. And it is super intelligent.

If it only didn't look like a Corona virus model... 😉  Grade: A

Looking Forward to Summer: June - August 2023

Hard to believe it's already summer, isn't it? For us Broadway fans, this summer has shaped up to be a busy one. Usually, the post-Tony Awards months are pretty dry. This year, however, two shows began previews (one of those, Grey House, has opened), and several others are gearing up to do the same.  

Before we dive into what we are looking forward to, though, as always we look back. During the spring months, we saw six Broadway shows and two regional productions. In the D.C. area, we caught Pacific Overtures (A+) and Spamalot (B), while we saw Life of Pi (A+), Bad Cinderella (B+), Bob Fosse's Dancin' (A), Shucked (A+), Camelot (C-), and Sweeney Todd (A+) on the Main Stem. That's a solid A average. Not bad!

Looking Forward to Summer:
June - August 2023

Regional:

The Play That Goes Wrong (Kennedy Center)
After hearing so much about this over the years from friends and readers, when the chance came up to add this to our subscription, it was a no-brainer. I look forward to my sides hurting from laughing so hard.

Broadway:

Parade (Bernard B. Jacobs Theatre)

One of two shows we have left to see from last season (but still before the Tonys!), I think I'm most looking forward to this one. The score alone is worth seeing it for, but the casting is just as thrilling. Can't wait to see Micaela Diamond, Jay Armstrong Johnson, and the wonderful Howard McGillin.

New York, New York (St. James Theatre)

The other last season holdover, this one will complete our "see every new musical this season" list. Looking forward to a Kander & Ebb score, seeing some great Susan Stroman choreography, and witnessing some new generation talent in Tony nominee Colton Ryan.

Once Upon a One More Time (Marquis Theatre)

I like Britney Spears okay enough, though the fractured fairy tales sub-genre is starting to wear thin. Still, what looks to be some amazing choreography, Justin Guarini and Jennifer Simard are enough to make our list. My low expectations are tempered by the hope that this will, at the very least, be a fun evening.

Here Lies Love (Broadway Theatre)

We loved this when we saw it at the Public a few years ago, and we are looking forward to see it in this new environment, along with seeing some great original cast members and exciting new ones! Controversy aside, I'm excited to revisit this one!

Back to the Future (Winter Garden Theatre)

Great Scott! Casey Likes and Roger Bart are reason enough to put this one on our list. And while we are growing weary of film to stage musicals like most of you, this title is one of my all-time favorite films (I'm a Gen-Xer, after all), and I'm excited to see just how they do it.

Off-Broadway:

The Light in the Piazza (City Center - Encores!)

A gorgeous score played by a full orchestra, and a beautiful show that goes with it is all it takes to make it on our "must see" list. But add to that an opportunity to see the always miraculous Ruthie Ann Miles? We can't get there fast enough!

FLASHBACK FRIDAY: Ruthie Ann Miles in Here Lies Love

It isn't just the distance between the Public Theatre and Lincoln Center that tells just how far Tony-winner Ruthie Ann Miles has come in just a couple of years.   Before she made her groundbreaking Broadway debut as Lady Thiang, she made some serious waves Off-Broadway in her breakthrough role.  She was Imelda Marcos in Here Lies Love, and she won herself both a Lortel Award and a Theatre World Award!  Whatever comes next for her, I'll bet it'll be awesome!

Here's a look back:

You gotta give it to George, right?

Jeff