ON THE RADAR: The Last Goodbye

I've always been drawn to the the story of the world's most famous star-crossed lovers, Romeo and Juliet.  Like so many of you, my first connection to Shakespeare was through reading that play in high school.  Secretly, I loved it - the passion, the ill-fated ending, the violence, the romantic comedy parts of it.  I say secretly because it just wasn't cool for a guy in the ninth grade to admit enjoying anything about school, let alone a "girl's" play.  Then, in 10th grade, my school did West Side Story.  I was a Shark.  And I fell in love with a whole new Romeo and Juliet in Tony and Maria.  As luck would have it, I'd have opportunity to be in it again as an adult, and yet again be involved with it a third time as a director-producer.  I've seen countless productions since, and I am certain my life will have the Jets and Sharks in it again sometime soon.  Romeo and Juliet figures prominently in one of my favorite contemporary musicals, Bare.  In this version, the star-crossed lovers are Jason and Peter, a twist that I fully relate to.  Art imitates life they say; in the case of Bare, that life is mine.  And there is the intriguing play, Shakespeare's R + J, a boy's school take on the tale.

Which brings me to a new show, The Last Goodbye, which intrigues me for several reasons.   Of course, since it is a modern interpretation of Romeo and Juliet, I am drawn to it.  And from what I can tell, it follows the Bard's work - the characters are named the same in this version.  And the production photos reveal a mix of  traditional and modern sensibilities in the design elements.  But it is also the people involved that outs this one on my "radar." Initial casting makes it interesting: here's hoping Broadway regulars Jay Armstrong Johnson and Stephen Bogardus and Broadway ensemble regulars James Brown III, Steve Schepis and Adam Perry remain attached to any future productions.  And I am immediately interested in anything Alex Timbers gets his hands on.  But the real intrigue for me is all about the music.  What may surprise you the most is that I've never knowingly heard a single note of the music of the late, acclaimed rock artist, Jeff Buckley.  Maybe it is the tragedy of his short, but famous life, and its unfortunate parallel to Romeo. Maybe it is because I am interested to see how his relatively small catalog fits this large play, and with little change to boot.

It is really all of those reasons that has put The Last Goodbye on my musical radar.  Who knows where this piece will turn up after its current Old Globe run.  But I hope this won't be the last we hear of it.

(Production photos by Matthew Murphy)

Jeff
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On the Radar: Hands on a Hardbody

The title is both titillating and clever.  The source material, an independent documentary, is the stuff of legend.  Its subject matter couldn't be more American.  And now it is a musical with a pretty amazing lineup of talent on both sides of the footlights.  I'm speaking , of course, of Hands on a Hardbody, which is now in rehearsals and working toward a late April/early May opening at La Jolla Playhouse. Considering the talents behind it, Broadway, eventually, must be its aim.

Why this interests me is actually a multiple part answer.  First, the subject matter intrigues me and is ripe with possibilities for genuine needs for songs.  What brings these people out to stand for days with their hands on a truck?  Are they desperate?  Are they looking for media attention?  Will they lie and cheat or will they be honest?  I'm picturing A Chorus Line for the pick up truck set.

More La Jolla artwork

The La Jolla press notes describe the show like this: "When an auto dealership in Longview, TX launches an endurance contest, ten economically-strapped strangers embark on a journey that puts their hearts, minds and bodies to the test. The contestant who keeps at least one hand on a brand-new hardbody truck the longest gets to drive it off the lot. What initially seems like a mere publicity stunt soon becomes a soul-baring battle of wills. Only one can win, but for all involved, the truck holds the key to their own private American dream."

A scene from the 1997 documentary

What I hope doesn't happen is that the creators make a mockery of these people.  Sure, there is humor to be found, but I hope not the "making fun of them" kind.  Like I said, this is a quintessentially American story - competition, a chance for a big prize/better life, and a Texas setting.  In these times, a little appreciation for the 99% is more than appropriate..

The Whole Team (top), Doug Wright,

Benjamin Millipied, Amanda Green

and Trey Anastasio

Second, I love the (on paper at least) eclectic mix on the creative team.  You've got Pulitzer Prize winner Doug Wright (I am My Own Wife), who knows a thing or two about finding the humanity in odd situations, writing the book.  And you've got Amanda Green, who knows a bit about Broadway scores - lyrics in particular - from growing up around two legends (her dad, Adolf Green and his writing partner, Betty Comden), plus she did the score for High Fidelity and is part of the Bring It On team.  And she has a new to Broadway, but certainly not music, partner in Trey Anastasio, the highly regarded, multi-Grammy nominee writer/singer from the prolific rock group Phish.  But he isn't just another rock guy trying "the Broadway thing."  He comes to this by way of a musical upbringing that includes generations of Broadway musical fans and years of experience seeing and hearing the classics.  Read a fascinating Trey Anastasio Rolling Stone article HERE.  The director, Neil Pepe (Speed-the Plow), and choreographer, Benjamin Millipied (the film The Black Swan) are no slouches, either!

(Clockwise) Hunter Foster, Connie Ray,

Keala Settle and Jay Armstrong Johnson

And finally, even though it is never a guarantee for Broadway casting, the cast of this regional premiere tells me that the producers are very serious about taking this show as far as they can.  It is full of veterans - Hunter Foster, Keith Carradine (both Tony nominees), Tony winner Jarrod Emick, Connie Ray, and Broadway regular Mary Gordon Murray.  And it has its share of up-and-coming talents, too: Jay Armstrong Johnson, Allison Case, Jon Rua, David Larsen and Keala Settle.

Diverse characters, a Texas setting, a survival competition and rock-n-roll - who could ask for more in a brand new, all-American musical?  I hope the show finds a lot of success!

Jeff

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ON THE RADAR: Kinky Boots

The film's promo

There really is no reason why the musical version of Kinky Boots should be on my radar.  Do we really need another musical based on a marginally successful film?  I mean, look at the rest of this season - 4 "new" musicals are based on films - Ghost, Once, Newsies and now Leap of Faith (another ON THE RADAR entry).  The  other two "new" musicals are re-treads, too - Rebecca has a film version or two, though the show is based entirely upon the novel, and Nice Work If You Can Get It is a songbook show based on another musical/  Heck, even the two remaining revivals, have movies made of them - Jesus Christ Superstar has never had a financially successful Broadway production, and is arguably best known to most by its concept recording and film version; Evita  will even incorporate its film-version song add-on, "You Must Love Me."

And with Kinky Boots we have yet another show that will feature a drag queen.  I love a good drag queen as much as the next musical theatre enthusiast, but enough, already - all three versions of La Cage aux Folles, Priscilla Queen of the Desert, Victor/Victoria, Chicago, Hairspray...!

A scene from the film

Still, it is on my radar, mostly because I'm hoping for another British film turned awesome musical like The Full Monty.  I love shows about every day people faced with the lowest point in their lives who over come it all with a great sense of style and a dance number or two.  Boots also has what Monty has: a genuine heart beating under a veneer of social consciousness all wrapped up in an outrageous, but sensible way out of its own plight.  Trade inexperienced male strippers with an inexperienced shoe maker creating drag-ilicious boots for guys dressed as gals, add the threat of unemployment and financial ruin and you can see that the two are related AND have current event relevance.

Cyndi and Harvey

People love shows they can relate to, laugh at, get an emotional tug at their heart.  Kinky Boots might just have that and more.  And let's face it, who better than Harvey Fierstein to write the book for such an enterprise?  A sense of humor with a socially aware bite to it is his forte, and the guy knows a thing or two about crowd-pleasing both with drag queens and emotional content.  Then there is the potential greatness of the quirky, slightly off the beam sensibility of music and lyrics by Cyndi Lauper.  The gal who knows a thing or two about the avante garde.  Plus, anyone who can pull off the fun of "Girls Just Wanna Have Fun" and "She Bop," AND make you bawl like a baby with "True Colors," seems the perfect match for both Fierstein and the property itself.

Stark and Billy

With the announcement this past week that Kinky Boots will be having a major workshop, you can tell this one is on the fast track to the big time.  Mega-producer Daryl Roth is the money behind it, and she ain't no slouch - look at The Normal Heart revival.  The generally underrated and too incredible for words Jerry Mitchell will direct and choreograph.  And the workshop will star the awesomeness that is Stark Sands (American Idiot) and the fabulousness of Billy Porter (if you missed him in the 1994 Grease as Teen Angel, you REALLY missed something amazing)!  The best of all possible worlds, I think.

The boots in question

Here's hoping the workshop is a success and that soon red leather thigh highs with 6 inch stilettos become all the rage on Broadway!

Jeff
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On the Radar: Ghost Brothers of Darkland County

Just the other day, I blogged about how many composers this season would be represented by two or more shows.  You'd expect names like Lloyd Webber and Schwartz - they are popular and prolific composers.  But who would have thought that the name Stephen King would be associated with two musicals being produced in the big time in New York and regionally?

Here's how the press release explains the quintessentially King story: "In the tiny town of Lake Belle Reve, Mississippi in 1957, a terrible tragedy took the lives of two brothers and a beautiful young girl. During the next forty years, the events of that night became the stuff of local legend. But legend is often just another word for lie. Joe McCandless knows what really happened; he saw it all. The question is whether or not he can bring himself to tell the truth in time to save his own troubled sons, and whether the ghosts left behind by an act of violence will help him – or tear the McCandless family apart forever."



I've let it be known just how much I'm looking forward to the re-boot of Carrie, the 1989 musical based on the classic King novel.  Though it hasn't been 22 years, it has been several since the musical Ghost Brothers of Darkland County has been announced - most recently for the 2008-2009 season.  That was until a day or two ago when some casting for a now definite production of the show was announced.  They say good things come to those who wait, and I hope that will be so true for this pair of thrilling new productions.

Stephen King, John Mellencamp

T. Bone Burnett

So why am I so into the idea of King's work as musical foundation (his novel is the basis for Carrie, he is writing the book for Ghost Brothers)?  Well, first and foremost, he is a master of suspense and thrills with an amazing knack for using his genre as a springboard for social commentary.  He is, perhaps the Sondheim of modern scary stories.  Second, I think Broadway is ready for the next great musical thriller.  Here's hoping for a Sweeney Todd for the 21st century!

Three different posters for the show

(Note: The grey poster has the credits incorrect.

Mellencamp is doing music and lyrics, not Burnett.)

Of course, a musical isn't just a book.  It is songs, and I can't think of a more natural fit for a Stephen King story set in the Southern heartland than a master of American heartland rock, pop and (even gospel) John Mellencamp.  A pop artist from the 80's (when he was Johhny Cougar), he proved he could write character and story with a little ditty called "Jack and Diane."  He can write infectious rock that makes impossible to sit still to - "R.O.C.K. in the U.S.A." among others.  And he can write moody, thematic, message-driven music - "Pink Houses" among still others.  His voice (in writing, not on recording) has the pulse of America - the real America, warts, problems, triumphs and all - urgently pumping through everything he does.  And the same can be said for King, who has his finger firmly on the pulse of decades of pop culture.  Add arguably one of the most acclaimed record producers of all time, T. Bone Burnett, as musical director, and it seems that the show has very firm roots.

Emily Skinner (Billy Elliot), Shuler Hensley (Tarzan)

and Guarini (American Idiot)

Now, with its first major production due at the Alliance Theatre in the spring of 2012, with a cast being led by Shuler Hensley, Emily Skinner and Justin Guarini (all three among my favorite Broadway performers), it looks like Ghost Brothers of Darkland County is well on its way!

(Logos from the Alliance Theatre, Stephen King's website, Broadway.com and Getty Images)

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Jeff
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