Friday 5: 5 Completely Original Musicals I Love!

5 Completely Original Musicals I Love!

(21st Century Edition)

With the announcement of the new musical Two Strangers (Carry a Cake Across New York), a completely original show, it got me to thinking about other such properties that weren't already novels, short stories, movies, or music catalogs, etc. Here are 5 of my favorites that I've enjoyed over the recent years!

Urinetown (2001): The recent Encores! revival of this very unique piece rekindled my adoration for it. So absurd a premise, I had to see this one back in 2001. Turns out that writers Mark Hollman and Greg Kotis, choreographer John Carrafa and director John Rando knew exactly how to make a biting satire AND a send up of Broadway musicals into an exciting night of theater.

  

Next to Normal (2009): This musical made me truly feel electric from its opening notes to its emotional, inspiring finale. That Tom Kitt and Brian Yorkey were able to make a musical about a variety of mental illnesses and their varied treatments, along with profound grief is truly an achievement. I have so many wonderful memories of this production, but what stands out for me is the absolutely fat-free book and brilliantly tight direction by Michael Greif. And, of course, the truly superb cast - and their replacements... I can't wait for a revival!

The Prom (2018): A rite of passage, Broadway flare, and important queer themes combined to make this adorable and riotously funny show a sentimental favorite. Witty and splashy, this tuneful comedy was full of toe-tappers, hummable tunes and production numbers, The Prom was aptly described as "musical comedy heaven!" A principal cast of personal favorites (I'm looking at you, Beth, Brooks, Christopher and Angie) and an exiting youthful ensemble were all icing on this fabulous cake!

Shucked (2023): I'm not particularly fond of corn, and I'm even less fond of old-fashioned style country music. So imagine my utter shock at how much I loved this show! I love a show that is smart and clever without overdoing it, and this little musical had me smiling from ear to ear (pun intended) and cheering for each song! Not since Hairspray, has director Jack O'Brien shown such a knack for musical comedy, and with such golden material by book writer Robert Horn and a delicious score by Brandy Clark and Shane McAnally, he had it made. Of course, when thinking about the many delights of this production, I'd be remiss not to mention the ground-breaking performance of Tony-winner Alex Newell. Brilliance all around!  

Maybe Happy Ending (2024): Who knew that a sci-fi musical about robots could be so utterly charming, genuinely sweet, and deeply affecting? And yet writers Will Aronson and Hue Park, along with director Michael Arden and a brilliant design team did just that. Romance, adventure, a sense of humor and an instantly hum-able score plus an amazing company of actors are the perfect combination for musical theater bliss!

Will Two Strangers join this list of original wonders? I hope so!!

2022 - 2023 Season Wrap-up: Broadway Logos - The Best and the Worst and the Much Improved

2022 - 2023 Season Wrap-up: 

Broadway Logos - The Best and the Worst and the Much Improved

We make it no secret that we love Broadway show art and advertising campaigns here at JK's TheatreScene. And we are thrilled that a lot of you seem to agree. These logo-related posts are always among the top most read each month.

This season just ended has really been an embarrassment of riches in terms of shows and show art. We saw two plays and fifteen musicals (all of the new ones!) during the 22/23 season, and were pleased to bring you not only reviews of each, but also "closer looks" at each of those show's logos. 

Below is a recap of how we graded each, a look at how some of the low scorers have improved their campaigns, and our pick for the Best of the Best!

GRADE RECAP: Average: A

F: 

17. Bad Cinderella     16. Camelot

C: 

15. Some Like It Hot

C+: 

14. Kimberly Akimbo

B-: 

13. A Beautiful Noise     12. KPOP

A-: 

11. Life of Pi     10. Almost Famous

A: 

9. 1776     8. Into the Woods     7. Leopoldstadt

A+: 

6. Parade     5. Bob Fosse's Dancin'     4. & Juliet

3. Sweeney Todd: the Demon Barber of Fleet Street     2. New York, New York

THE BEST SHOW ART (and Advertising Campaign): 

1. Shucked

Simple, eye-catching and as fun as the show it represents, the show art, merch and the overall marketing for Shucked is inspired, interactive and has a broad appeal. While not forgetting more "traditional" means, those in charge have fully embraced the new generation of cyber loving influencers. It is, in fact, so ingenious that I suspect we've reached a turning point in the way Broadway shows will be advertised.

MOST IMPROVED:

Happily, all four of our lowest-rated logos have made some positive steps in the right direction. Adding interest and some much needed context, each has largely gotten rid of their original images, keeping only their titles, and adding photos of their stars in action, along with some tweaks to their taglines. (This is in addition to the usual pull quotes and awards numbers.)

  

  

I think the most improved of the lot are Bad Cinderella and Kimberly Akimbo. Sadly, it's too little, too late for the former, as it'll be closing in a matter of weeks. Hopefully, the latter will get a boost from the updated ads (and several awards).

With a new crop of shows already started for the 2023-2024 season, we are already at work on a closer look at Once Upon a One More Time. Look for that soon!

2022 - 2023 Logos: Shucked

2022 - 2023 Logos:

Shucked

With today's breakdown of the key art to the musical Shucked, every logo of each musical production that opened in the 2022-2023 season will have been analyzed. What a way to end up the season - with a show that has been an endless source of surprise and happiness since its first Broadway preview!

It should, at this point, not be surprising that this production's show art is as straightforward and clever as the show it represents. And like the musical, this logo knows what it needs to be and nothing more. I'd go so far as to say this hearkens back to the days of mega-musical iconography. Not since I got my first Cats t-shirt, have I wanted to wear a show shirt so much now. I want everyone to know that corn can, in fact, change the world one ear at a time. 

As you can see by the above photograph, Shucked's imagery passes the chief test of a logo - it is eye-catching and draws passersby to notice the theater to which it is attached. No small feat in the visual cacophony of the entire theater district. The bright yellow and vibrant leafy green are pleasing together and the black title with the bold but not distracting font contrasts perfectly.

      

Poster, magnet and Playbill

While it seems obvious to use corn as the central image of a musical about corn, what is so ingenious is that they use but one ear. One ear of perfectly formed, sun-kissed corn, with the brightness of a beam of light reverently shining behind it. The simplicity of the image instantly equates in the brain - "corn = that funny corn musical." Just like the Cats eyes and the Phantom mask before it, corn merch will soon permeate the theatrical fandom in all of its iterations.

      

Stamp, White Stylized, Pop Art

And speaking of iterations, they already have four versions of its show art. The primary logo appears on the Playbill, the window card, a magnet and the show's souvenir program. Then there's the more iconographic style of the ear of corn with an extra dash of orange on a white background, found on another magnet, a lapel pin, a baseball cap, and a tote bag. Next up: the most subtle of the versions, the "stamped" logo, resembling a stamp one might find on a barrel of corn whiskey (IYKYK), which is on a cool t-shirt that comes in a similarly "stamped" canvas bag. Finally, there's the "pop art" version, reminiscent of Obama's "Hope" campaign poster*, but also a sort of Warhol painting. 

Just like the show it represents, the logo is bright and silly. And just like the show, the people behind the key art have created it all with a savvy understanding of what it means to put together smart Broadway show advertising.

Grade: A+

*As if they read this before I posted it, it seems the PR team has kicked off their Tony Awards campaign with a "Yes We Corn" button!

#GetShucked

 

REVIEW: Shucked

Review of the Saturday, April 22, 2023 matinee performance at the Nederlander Theatre in New York City. Starring John Behlmann, Kevin Cahoon, Andrew Durand, Grey Henson, Caroline Innerbichler, Ashley D. Kelley and Alex Newell. Book by Robert Horn. Music and lyrics by Brandy Clark and Shane McAnally. Scenic design by Scott Pask. Costume design by Tilly Grimes. Lighting design by Japhy Weideman. Sound design by John Shivers. Choreography by Sarah O'Gleby. Direction by Jack O'Brien. 2 hours, 15 minutes including one intermission.

Grade: A+

I can't remember the last time a Broadway show was as good as its hype. Shucked, a completely original musical to boot, is that rarest commodity - it is even better than the hype! Leave your "serious musical" hat at home and come to the Nederlander Theatre with an open mind and heart. You'll laugh, tap your toes, and feel your heart fill with joy. The endorphin rush will last - trust me, it's been five days and I'm still smiling! 

The score, by Broadway newbies and country music royalty Brandy Clark and Shane McAnally is an absolute delight, equal parts twang and Broadway pizzazz. I've often said that I thought country lyrics and Broadway lyrics were very similar: both are driven by character and story. Looks like I was right! They know their way around a big, splashy production number - with the opening number, "Corn," a rousing delight, and the uproarious ode to Tampa, "Travelin' Song," standing out. Both are equally adept at character songs: "Independently Owned" the viral hit (my new go-to shower song), "Walls," and "Somebody Will" are three numbers that have wit and insight and a ton of heart for the characters of Lulu, Maizy and Beau, respectively.

Speaking of heart, for me that's what makes Robert Horn's brilliantly hilarious book really work. Oh, yes, the jokes are plentiful, ranging from groan-worthy dad jokes, to clever puns and pithy zingers. Indeed, several jokes stop the show. But it's the unapologetic heart that Shucked proudly wears on its husks sleeves that grounds the piece. Horn makes sure we laugh with the characters, not at them. And we care - I distinctly remember thinking to myself, "I am really invested in this corn dilemma!" And if you really have to have depth, there's no shortage of commentary on everything from politics to environmental concerns to women's rights, always with a laugh accompanying each, uh, kernel of truth.

If the old TV show Hee Haw had a baby in 2023, it would look like Scott Pask's barn set, with rustic charm and wit to spare. The playing spaces allow for a wide variety of locales, and split-second changes with just a row of corn or two to mix things up. Japhy Weideman's magical color pallet lights the proceedings with charm and certainly adds to the emotional moments, and Tilly Grimes' delightful costumes bring denim and flannel to a whole new level! Her costumes that parody Floridians are as silly as they are on point. The sound design by John Shivers is a rare thing, indeed. No tricks, just solid design that insures that every single syllable of every joke and song is heard - even over screams of laughter.

The cleverness of the whole affair is held together by the sharp as a tack musical staging of choreographer Sarah O'Gleby and director Jack O'Brien. Ms. O'Gleby is happily on the same page with the book and score, including some tricky long board and rolling barrel dance sequences. Mr. O'Brien's work here is reminiscent of what he did with Hairspray, with inventive staging and clever visual humor. Most importantly, while he allows the cast a generous amount of leeway in milking every laugh, he has taken great care to keep everything under control. He knows just when to cut the hilarity and allow the heart to shine through. It's a delicate balance, and it is handled brilliantly.

The citizens of Cob County, where this little fable takes place, are a game group. From boot-stompin' to barrel rollin' and a generous amount of good ol' fashioned Broadway hoofin', the eight member ensemble are all aces. It is clear that they are having as much fun as we are. They are the perfect support for the principal cast.

As our narrators and tour guides, Ashley D. Kelley (Storyteller #1 - a great Broadway debut) and Grey Henson (Storyteller #2), are a riot, delivering eye-rolling one-liners and plot details with equal zeal. When they let go playing a variety of smaller roles (sometimes two or more at a time - each), you can see the twinkle in their eyes all the way back in the rear orchestra! 

Broadway debutante Caroline Innerbichler is giving the sweetest leading lady role of the season with the finesse of a seasoned pro. She navigates each twist and turn of her anything-but-typical fish-out-of-water plot line, singing like a bird, and deftly handling the straight man duties of this comedy. She imbues Maizy with a wide-eyed wonder and a smart backbone. Her co-star, the, um, amazingly fit (it's a plot point, honest!) Andrew Durand, is an impressive mixture of hayseed, masculinity, and endearing warmth. His big act one solo, "Somebody Will," stops the show, and makes us root instantly for his character, Beau. His chief nemesis, Gordy, a dim, but conniving city fella is played by John Behlmann, a lanky giant of a man, who easily (and comically) handles the physical comedy demands of the role expertly. I'd say more, but his role is integral to the surprises of the show, and I won't spoil it for you!

Kevin Cahoon has returned to Broadway after a more than 15 year absence in the role of a lifetime: Peanut, Beau's cornfield smart, otherwise dim brother. His comic gifts are superior. I can't imagine anyone else delivering pun after pun, observation after observation, with as much skill as Mr. Cahoon does. It is entirely to his credit that each (intentionally) bad joke lands with both a groan and a laugh of delight. Sure, not all the jokes are created equally, but I feel sure that in lesser hands, Peanut would not be welcomed by audiences as he currently is.

Before we saw it, word on the street was that Alex Newell's turn as whiskey entrepreneur Lulu was stealing the show. As it turns out, he does and he doesn't - and that is 100% a sincere compliment. Written as it is, Lulu is always going to be a crowd-pleaser. She's quick-witted, with a savvy understanding of how the world works, a tight hold on her own life, and a generous heart that envelopes all of Cob County. But what makes Newell's take on the role so wonderful is the unfettered joy that exudes out of him, as he creates this wonderful woman. That joy is infectious, and we hang on Lulu's every word and gesture. And when she unleashes the already classic "Independently Owned," one experiences that elusive moment of Broadway nirvana. As I said though, Alex doesn't steal the show because this is a generous performance that is as much a tour de force as it is an integral part of the company. 

Shucked knows what it is, and delivers from the first line to the final bow. Would that other musicals were as aware. This is one show you don't want to miss. 

📸: M. Murphy & E. Zimmerman

Looking Forward to Spring: March - May 2023

Alright, so winter doesn't officially start for three more weeks, but we're going to go ahead and call it early. Just like it always does, Broadway is beginning to fill its empty theaters with new shows to entertain, provoke and move us. And we are so excited to see many of them! Our goal is to see every new musical in each season, meaning the list below is musical-heavy, but beyond this period, we have several plays we are looking at for the summer.

Of course, before we look ahead, we like to review the recent past. Over the winter months we were very fortunate to have seen several wonderful shows, and only one real clinker. Though we didn't make it back to Harry Potter, we did make another visit to Kimberly Akimbo, which was as brilliant as ever! We also saw & Juliet (A+), A Beautiful Noise (D+), Leopoldstadt (A+), and The Kennedy Center's Sunset Boulevard (A+) for an average of A. Not bad at all!

Looking Forward To Spring:

March - May 2023

BROADWAY:

Bad Cinderella (Broadway - Imperial Theatre) Despite, or maybe because of, the vitriol of certain social media influencer wannabes, I'm looking forward to seeing this! The cast looks fun, and the snippets I've seen look pretty neat-o. True to my word, I'm going into this looking forward to a new musical where anything is possible.

Camelot (Broadway - Vivian Beaumont Theater) Any time Bartlett Sher helms a new Lincoln Center revival, it is cause to be excited. I'll admit this is not my favorite classic, but if anyone can get me to love it, it is Sher. Add to it the stunning, sexy and young principals (Andrew Burnap, Phillipa Soo  and Jordan Donica), and I am ready to be transported!

Dancin' (Broadway - Music Box) If you've been following my blog for any length of time, you know I am obsessed with anything Bob Fosse. In fact, the 1st National Tour of Dancin' was my first brush with his genius. Needless to say, I'm really looking forward to seeing what original cast member-turned-revival director Wayne Cilento has done to bring this piece back to life. 

Life of Pi (Broadway - Gerald Schoenfeld Theatre) Okay, I am more interested in how this play will be done than what it is about. Actually, I know nothing more about this work (in any form) than what can be gleaned from the logo. The pictures I've seen of it look enchanting. I have a feeling seeing it happen live will only intensify the thrill!

Shucked (Broadway - Nederlander Theatre) The season's biggest question mark for me, on paper this looks absolutely ridiculous. But I've been won over by equally silly on paper shows (Urinetown, Xanadu). Frankly, I think their ad campaign is a riot - they know what they have and are really into the silliness. Jack O'Brien parading around Times Square dressed as an ear of corn is an image one won't soon forget. And have you seen their music video for the song "Maybe Love?" It gives me confidence in the quality of the writers.

Sweeney Todd (Broadway - Lunt-Fontanne Theatre) Even more than Fosse, I am truly a Sondheim fanatic, and Sweeney Todd is my absolute favorite of his shows. The cast and creative team have me really excited to experience the thriller of all musicals. I don't know who I'm most excited to see - Josh, Annaleigh, Ruthie, Jordan? Heck, it's the entire company! 

REGIONAL:

Pacific Overtures (Signature Theatre, Virginia) The mid-Atlantic's foremost interpreter of the works of Stephen Sondheim, Virginia's Signature Theatre is bound to put on a thrilling production of this regrettably rarely done piece. Catch their recently posted video of the song, "Someone In a Tree." If that's any indication... 

Spamalot (Kennedy Center - Eisenhower Theatre) If I'm being completely honest, one of the biggest reasons we got a Kennedy Center subscription for the Broadway Center Stage series was to see Kiss of the Spider Woman. And frankly, Spamalot is not really any sort of equal trade off. So, why does it still make our "looking forward to" list? Well, I like to give shows a second chance. Who knows? Maybe I'll like it better this time! But really, the initial casting has me intrigued. Alex Brightman, James Monroe Iglehart, Leslie Rodriguez Kritzer and Rob McClure are all on my "actors to see no matter what" list. Even as I type this, I'm getting excited!

Before the Tonys, we'll also be seeing Parade, Fat Ham and New York, New York, and I don't know about you, but this summer is going to be hot with new shows!!