The Epitome of Grace and Style

After my rant/tantrum yesterday, I guess the theatre gods conspired to remind me why, in spite of so much negativity, I still love theatre and all of those who work so hard to bring each stage to life.

Today, I just happened to log on to Twitter during a later than usual lunch. (In other words, I would have missed this on any other more "normal day.")  And there in the middle of the stream was a Tweet from long time friend of this blog, Steve Kazee.  I have admit I was both pleased and relieved just hear from him.  He has been quiet for weeks, and I know it must have been quite the task to stand by and listen to/read all of the speculation surrounding his silence and absence for nearly two months from the show that won him the Tony, Once.  He inspires me.

Quite frankly, I don't know how he kept from responding.  People are so quick to judge and to outright lie, all under the guise of "knowing someone who knows someone...blah blah blah."  The bottom line is - as I ranted about yesterday - a lot of people take such pleasure in others' misfortune and it is disgusting and shameful.  The ugliness was way beyond "schadenfraude."

And then I read Steve's message to all of us (can be found a www.stevekazee.com):

To the fans of Once the Musical,

I just wanted to write and say thank you for all of your well wishes and sweet messages during the past few weeks. As many of you know, I suffered a vocal injury on Feb. 6th and was unable to return to the role of Guy since that time. This is not how I had imagined the run of the show would end for me and to say it has been disappointing would be understating it quite a bit. I have been on vocal rest since my diagnosis to help heal up the swelling and to reduce inflammation around a blood vessel that was lying over top of the swollen area. I am feeling much better these days and should be back to 100%  within a week or two and I look forward to seeing whatever comes next. I had planned on extending my contract with Once through September but after the injury I had to reevaluate that decision and on the advice of my doctor it was decided that returning to singing the same role in the same way 8 times a week would be too high of a risk of hemorrhaging a vocal cord and one that I wasn't willing to take. I am truly sorry that I wasn't able to be there to finish out this run as I know many of you came to see the original cast of Once. I hope you can understand that I was just as disappointed to not be able to perform for you. I know many of you were concerned about me because of my absence from social networks so I want to let you know that my absence was what I felt was most respectful to the show, to the cast, and ultimately to the audiences of Once. I would have felt awful to know that one of you was at the show and I wasn't there and then when you returned home you found copious tweets from me about The Walking Dead or some other random bit of banal business from my day. I ultimately felt that waiting until after March 24th before addressing any of this was the best way for me personally to handle it. I don’t know how to convey to you what an impact you have all made on me since this journey began. I am one of you. I am a fan. A fan of Broadway, theatre, film/tv, music, art and all those who create it. It is that same fandom that I saw in your eyes, heard in your words, felt in your hugs, and sometimes tears, that will stay with me forever. I loved spending time with you on the street or at the stage door nearly as much as I loved performing for you. You constantly reminded me of how incredibly lucky I am to be doing what i’m doing and I hope as my life transitions from this place to the next that I can continue to do the kind of job that has garnered your love and admiration for years and years to come. This show and everyone involved in it; our wonderful producers, phenomenal creatives, amazingly talented cast, our outstanding stage management team, everyone behind the scenes at the Jacobs Theatre, and you, the audience, mean the world to me and I consider myself to be YOUR fan as well. Thank you for everything. I love you all.

Steve

Mr. Kazee,  I want to thank you for showng such grace and dignity.  These are things that seem to be lacking in society today, but you have just single-handedly reminded me that there are still some good guys left.  You lead by example, and we are all better for it.  You are "Gold."

Rest up!  Get better!  And we are all excited to see what you have in store for us in the future!

Jeff 

4.202

Sounds Like ONCE to Me

PREFACE: As I was writing this very blog, it was announced that the cast recording of Once won the Grammy Award for Best Musical Theatre Album.  Way to go!

I don't know how much contemporary music all of you listen to, so I might be a little out of my mind here.  BUT I've noticed (have you?) that there are several songs on the the charts today that sound like they could easily fit into the Tony-winning Best Musical, Once.

Maybe it's the driving, almost primal deep beat?  Is it the strings that carry the melody?  Or the clear piano?  Or is it the accordion-like sounds?  Perhaps it is all of these.

This song, "Little Talks" by Of Monsters and Men, is kinda creepy lyrics-wise, but can't you picture a folk tale flashback while Guy and Girl get cozy on the rocks overlooking the town? She gets scared; he comforts her...

I nominate American Idol's Phillip Phillips to either replace Steve Kazee or play Guy in the National Tour.  His song "Home," sounds like it would fit into the show nicely, too.  Maybe Guy and his Da are reminiscing...

Once could use another exhilarating group number, and what better one than "Carry On" by Fun?  When it goes into full swing, can't you just picture Ann Nathan  and Elizabeth A. Davis roaming the stage and jamming together center stage as the song reaches its apex?  It would work so great after the second "Falling Slowly" - rousing AND tearful.  (There is also an acoustic version, perfect for Guy and Girl to get us to serious weeping!)

And finally, this catchy tune, "Ho Hey" by The Lumineers, would fit as part of the pre-show, part of the story, or as a fun curtain call encore.  It is so Once it is almost scary!

So, now that this sound is clearly popular and growing, why haven't the powers the be released a Broadway Cast Recording single of "Gold"?  Surely, that would make a dent in the Top 40, right?

Jeff
4.160

National Coming Out Day: Bare Comes Out

The tag line for the revival of Bare is "Everyone Has a Secret."  But being gay doesn't have to be.

October 11 is National Coming Out Day, and the theatre community is out in full force (no pun intended). They've been Tweeting, taking pictures, and, perhaps most importantly, sharing their own stories of coming out.  I wish that when I came out such support was available.  Not that it is ever easy, no matter how much support there is.  It is not something to take lightly.  If any of you took the opportunity to come out today, congratulations!  If you still aren't sure about how or when - or if you know someone who is struggling - take your time and give it lots of thought.  Just remember... you are not alone.

To commemorate the occasion, the cast and creative team of the upcoming revival of Bare spoke about their own "coming out," including director Stafford Arima, choreographer Travis Wall, book writer and lyricist Jon Hartmere, and cast member Taylor Trensch (Peter).  Another cast member, Casey Garvin (Zack) tells a poignant story of how Bare was a part of his own coming out.

Missi Pyle, who plays the nun in the show, calls herself a "straight ally," a growing and very important movement of people who identify themselves as straight, but decidedly pro-equality and there to support the LGBT community.  Members of the Broadway community who are straight allies include Steve Kazee, Audra McDonald, Will Swensen, Celia Keenan-Bolger, and John Ellison Conlee among many others.  Like I said, no one is alone.

Here's that video from Bare, followed by another video from the same event (courtesy of Playbill) in which Jason Hite (Jason) sings "Role of a Lifetime" from the show.  Impressive and heartfelt.

If you are struggling and need someone to talk to, click HERE.

For more information on Bare, click HERE.

Thank you to all of my friends, straight and gay, who support me and love me for everything I am.  Right back atcha!

Before you go...

• ...have you VOTED in this month's THEATRE POLL? CLICK your answer on the poll in the left column!
• ...have you ENTERED TO WIN tickets to CHAPLIN?  CLICK the CHAPLIN icon at the top right of the blog!

Jeff

4.043

Comments? Questions? @jkstheatrescene (Twitter); jkstheatrescene@yahoo.com (Email); or leave a comment below and check a box!

POLL RESULTS: August 2012: Hottest Guy on Broadway

When I started the first ever HOT/HOTTEST poll, my goal was to have us celebrate the guy who was "HOT" on his own terms - not necessarily a pin up kind of guy - unique talents, unique features...unique looks.  You nominated and chose some really amazing guys, including the eventual winner, Newsies' Kyle Coffman.  Of course, we couldn't ignore the, um, most "traditionally" handsome, sexy AND talented Broadway guys, right?

Well, so many of you voted, that I had to re-boot the poll 4 times!  You guys are passionate about your Broadway boys!  (So am I...)  And so... after a month and nearly 1,000 votes... here are your...

10 HOTTEST OF THE HOT 

BROADWAY BOYS!

10.  Kyle Dean Massey (Wicked, next to normal, Lucky Guy) 34 votes - 3.5%

9.  Jay Armstrong Johnson (Hands on a Hard Body, Wild Animals You Should Know) 46 votes - 4.7%

8.  (tie) Steve Kazee (Once, 110 in the Shade) 58 votes - 5.9%

8.  (tie) Richard Fleeshman (Ghost: The Musical) 59 votes - 5.9%

6.  Ricky Martin (Evita, Les Miserables) 70 votes - 7.1%

5.  (tie) Gavin Creel (Thoroughly Modern Millie, Hair) 93 votes - 9.4%

5.  (tie) Cheyenne Jackson (The Performers, Finian's Rainbow, Xanadu) 93 votes - 9.4%

3.  Matt Doyle (Bye Bye Birdie, War Horse) 104 votes - 10.6%

2.  Jeremy Jordan (Newsies, Bonnie and Clyde) 174 votes - 17.6%

1.  Aaron Tveit (next to normal, Catch Me If You Can) 257 votes - 26%

Before you go...

• ...have you VOTED IN THIS WEEK'S "HOT/HOTTER" POLLS?  IT'S PART I OF THE CHAPLIN EDITION! PICK WINNERS FOR 3 CATEGORIES: HOTTEST SWING, HOTTEST MALE ENSEMBLE MEMBER AND HOTTEST FEMALE ENSEMBLE MEMBER! POLL CLOSES SEPTEMBER 6! CLICK THE CHAPLIN ICON AT THE TOP LEFT OF THIS BLOG!
• ... have you VOTED IN THIS MONTH'S THEATRE POLL?  IT'S BRAND NEW, AND IT'S TO YOUR LEFT!

Jeff

4.005

Comments? Questions? @jkstheatrescene (Twitter); jkstheatrescene@yahoo.com (Email); or leave a comment below and check a box!

Tony Spotlight: Once in the News

LOVE ONCE?  

THEN NOMINATE THE SHOW

FOR THE JKTS AWARDS!  

CLICK THE ICON TO YOUR LEFT!

Though much more low key than most other musicals, both on stage and off, Once is a powerful, quiet giant, nonetheless.  Today's Tony Spotlight focuses on the little show that is poised to slay the big guys.  Like I did with Newsies last week, I've gathered together some great articles, videos and photos of the show all in one place for you to enjoy.  I hope you do!

THE INSPIRATION:


HERE is an article about the original "Guy" and Girl" and bringing Once to the stage.

Enda Walsh and John Tiffany

Steven Hoggett

THE CREATIVE TEAM:


John Tiffany (director) and Steven Hoggett (choreographer) are featured in THIS ARTICLE from The New York Times.

And Hoggett again in the L.A. Times HERE.

Find out about Tony-nominee Enda Walsh in this interview at Playbill.com HERE.

Here's a rare thing: an article about a sound designer!  Find out about Clive Goodwin in this boston.com article HERE.

THE CAST:


For a touching, revealing article about Steve Kazee that appeared recently in The New York Times, click HERE.

Rolling Stone has a great interview with Cristin Milioti which is HERE.

Just how surprised was Elizabeth B. Davis at her Tony nomination?  Find out in this article from The Wall Street Journal HERE.




PICTURES AND VIDEO:


Cristin Milioti and Steve Kazee in Time Out New York:

The cast has performed on The Today Show, Late Night with David Letterman, and here on The View.



FOR MUCH MORE, GO TO THE SHOW WEBSITE HERE!
For more about Steve Kazee, Mr. Broadway March 2012, click HERE.
For more about Cristin Milioti, Ms. Broadway March 2012, click HERE.
For my full review of Once HERE.

Jeff

3.264

@jkstheatrescene (Twitter); jkstheatrescene@yahoo.com (email); Comment below (Blogger)

REVIEW: Once

Review of the Saturday, March 17 matinee preview.  At the Bernard Jacobs Theatre in New York City.  Starring Steve Kazee and Cristin Milioti. Book by Edna Walsh.  Music and lyrics by Glen Hansard and Marketa Irglova.  Movement by Stephen Hoggett.  Direction by John Tiffany.  2 hours, 30 minutes including an intermission.

Grade: A+

I will assume that if you are reading this, you are a more than average theatre-goer, and that you have seen your share of musicals over the years.  If not, I hope you can understand that what I am about to say is not hyperbole, but rather a way of expressing the magnitude of my personal response to the new musical Once.

The longer you attend theatre, the more difficult it becomes to find that next show which really changes you in some way.  That's not to say there aren't shows you like or love, even.  But ever so rarely does a show come along that leaves you somehow better and more alive than you were before taking your seat. In (gulp) just under 30 years since I attended my first Broadway show, it had happened exactly 5 times for me.  That is until last Saturday afternoon, when that elusive, straight-to-my-soul thrill of witnessing true brilliance on the stage occurred for a 6th time, when the audience leaped in unison to its feet in appreciation for what the company had just done for us.  It was not one of those typical standing ovations that greet every Broadway show these days.  It was a magical communion between human beings caught up in the euphoria that truly beautiful art brings out in people.  There was, for those brief moments, no line between artist and patron.  We were one.

Of course, I had read some of the hype that went along with this transfer from Off-Broadway.  I've been reading such things with relative frequency lately and the street is littered with the memories of those shows that couldn't stand the move.  With Once, I hope that mold has been broken, and the show becomes the hit that it deserves to be.

Not since next to normal has a show been so lean, so "fat free," where every word, every lyric has import. And not since Spring Awakening has a score been so musically challenging both to the ear and to the brain.  Each word of Edna Walsh's heartfelt, genuine book complements the blissfully poetic, joyful and heartbreaking lyrics of Glen Hansard and Marketa Irglova.  So carefully chosen is every syllable that you can't help but be simultaneously swept up into the story and carried away into your own private world of personal ties to the action before you.  So emotionally rich are the book and score that I venture to say that were it performed on a black stage with stools and scripts on stands, the impact of the piece, viscerally, would be the same as the full-blown performance.

Ah, but what a treasure is the visual of Once.  The simplicity of Bob Crowley's unit set and every man costumes allows one to feel we are in a corner pub in Dublin, certainly, but really we could be in any intimate  space sharing this most intimate piece.  The walls, decorated with framed mirrors make us see ourselves at all times, a constant reminder that all of us are the guys and girls of the world - and the fathers, mothers, lovers and children.  That the mirrors simply reflect, rather than distort in any way, tells us that we are simply meant to be a part of Once; it is not an overblown, highly symbolic commentary on society beyond the unity it engenders.  The exquisitely warm but unobtrusive lighting by Natasha Katz provides the color, light and darkness that capture moments in time like photographs, helping us to know where to look, and to also sweep us away into this almost dreamlike world.  The orchestrations of Martin Lowe are a sweet (and bold) mix of folk-rock and Irish folk music, including some tricky work for string instruments and a traditional Irish beat box.  They offer a perfect frame for the sublimely understated score throughout the show.  And the truly brilliant sound design by Clive Goodwin ensures that we don't miss a note or syllable, without ever once feeling like the show is even amplified.  The combined efforts of the design team create no less than a sensory masterpiece unseen on Broadway in several seasons.

Guiding this mesmerizing piece in an exceptional, low key yet boldly theatrical presentation is director John Tiffany.  Each scene is a work of art, each transition giving the work a seamless flow, making the two-and-a-half-hour run time fly by like a few seconds.  The ebb and flow of focus on key players in each scene with the coming and going of the people outside the action is truly ingenious. And while having the cast play the instruments is certainly not a new thing, here it takes on a fresh vibrancy that is at once both completely natural feeling and dynamically theatrical.  The same can be said for the movement provided by Steven Hoggett, who has crafted dances and transitions that have the feel of authentic Irish dancing and the ability to enhance the action - think Celtic Woman meets Spring Awakening.  There is no feeling of bombastic manipulation that only hints at traditional folk dancing that we have come to expect from shows like Riverdance, which feels overly showy and only marginally authentic.  Instead, the movement here has purpose and feels authentic merely by scaling it way back, allowing us to feel a part of the Irish tradition and part of the Broadway tradition at the same time.

The entire cast of thirteen is remarkable, even if you only consider that each has to be a quadruple threat, often simultaneously.  One can only imagine how difficult it is to act and sing with an accent, play an instrument AND dance all at the same time.  It sure makes singing while tap dancing look almost easy.  There isn't a weak link in the bunch, and it is a testament to the group as a whole to see just how "as one" they are.  Several ensemble members give notable performances, including David Patrick Kelly who plays the patriarch of the group and Guy's "da."  He is charming and no-nonsense, while still showing a love for his son beneath the tough exterior he gives the world.  Similarly, Ann L. Nathan exudes motherly strength and a sharp wit as Baruska, mother to the girl (and she has quite a way with the accordian, too!).  Sleek and "local girl" sexy are Elizabeth Davis and Erikka Walsh, both of whom play fiddle while they dance and sing.

Comic relief and a large dose of a reality check come to us in the persons of Will Connelly (as the "washed  up' has-been burger boy) and Paul Whitty (as nervous, quirky Billy, whose quirks endear rather than annoy).  Andy Taylor is also quite funny as the uptight banker turned recording artist, and the utterly charming goofiness of Lucas Papaelias, as the Czech drummer who has learned English from television soaps, threatens to steal the show. The remaining ensemble members, David Abeles and J. Michael Zygo, also create memorable, folksy characters.  (The adorable Ripley Sobo played the young Ivanka at the preview I attended.)

The two leads of the show - Steve Kazee as Guy and Cristin Milioti as Girl - are both making Broadway star turns that are not to be missed.  Kazee and Milioti individually exude charm and charisma, enough to melt your heart and set your soul afire.  But together, they ignite enough sparks and share an electric chemistry that could light up Times Square on New Year's Eve.  Rarely does one witness such an emotionally charged symbiotic relationship.  Their longing for each other is as palpable as the sorrow they share that comes from life choices that have to be made.  Their attraction is instant, and you know you are in the presence of greatness right off the bat.  I have never seen so much being told about a relationship on the stage as I did at one particular moment here.  Guy is finishing up his busker number, "Leave," and Girl, standing wordlessly in a spotlight, catches his eye.  Not a word of dialogue is spoken, a new number is not started.  They simply stare at each other silently, and yet you know that both are lost souls, aching from past loves and exhilarated by the instant attraction they feel.  Let me tell you, the audience is right there with them, exhilarated and in love.

I came into Once not knowing a thing about the story, the film or even its signature Academy Award-winning number, "Falling Slowly."  But one doesn't need to have experienced the film to recognize that Once transcends the mold cast by so many film to stage works.  It does what all of the very best film to stage works do: it celebrates the best aspects of the film while celebrating the medium of theatre at the same time, taking aspects from the film and transforming them into uniquely live stage moments.  Instead of recreating the film, everyone involved has recreated a basic human love story in strictly theatrical terms.  The difference here is that Once does it just that much better.

When I left the theatre, the tears were still rolling down  my cheeks.  I was moved, transported and jolted to life.  I ached deeply, and I appreciated life just that much more for having the experience that is Once.  It is the best show on Broadway.

(Photos by Joan Marcus and The New York Times)

More on Steve Kazee HERE.

More on Cristin Milioti HERE.

Jeff

3.202

@jkstheatrescene (Twitter); jkstheatrescene@yahoo.com (Email); Comment below (Blogger)

Broadway Boys: Mr. March 2012: Steve Kazee

Mr. March 2012

Steve Kazee

WHY HE'S MR. BROADWAY: Word on the street is that his performance in the new musical Once is riveting, emotional and beautifully rendered.  He has, over the years proven himself versatile as an actor and musical theatre star.  He has played such musical supporting roles as Sir Lancelot in Spamalot, and Bill Starbuck in 110 in the Shade.  He has proven his mettle in the Albee drama Seascape, and his comic chops as Sobinsky in To Be or Not to Be.  He has held his own against such theatrical luminaries as Audra McDonald, John Cullum, Jan Maxwell and Frances Sternhagen.  And that is just on Broadway.  Regionally he has appeared in Pirates! (Huntington) and The Subject Was Roses (The Kennedy Center) among other productions, and has co-starred with Cady Huffman, Judith Ivey and Bill Pullman.  And you probably have seen him on any number of TV shows, including NCIS and his own series, Working Class, in which he co-starred with TV icon Edward Asner.  But now it is his turn to take the lead, and with Once about to take him to a new level, it is no wonder Steve Kazee is Mr. Broadway for March 2012.

OTHER INFORMATION:

• Birthdate: October 30, 1975
• Education: MFA in acting from NYU's Tisch School of Drama Graduate program
• Where else you might have seen him: Broadway: Spamalot, Seascape, 110 in the Shade, To Be or Not to Be, Once; Off-Broadway: Once; Regional: Huntington Stage: Pirates!, The Kennedy Center: The Subject Was Roses; Television: NCIS, Numb3rs, Working Class, CSI, Medium
• Where you can find him online: http://oncemusical.com/cast.html

IN PHOTOS:

HEAD SHOTS AND CANDIDS

With Smash star and girlfriend Megan Hilty

ON TELEVISION: Working Class

With co-star Melissa Peterman

REGIONAL THEATRE

The Subject Was Roses

Pirates!

 BROADWAY

110 in the Shade

With Audra McDonald 

To Be or Not To Be

With Jan Maxwell

Once

With Cristin Milioti

ON VIDEO

"Fine" from Ordinary Days with Megan Hilty

The Promo Trailer for Once

Jeff
3.184
jkstheatrescene@yahoo.com (e-mail); @jkstheatrescene (Twitter); "Comment" Below (Blogger)