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!!

Review: Urinetown

Review of the Sunday, February 9, 2025 matinee performance at New York City Center in New York City. Starring Jordan Fisher, Riann Wilson, Christopher Fitzgerald, Greg Hildreth, Tiffany Mann, Stephanie Styles, Kevin Cahoon and Pearl Scarlett Gold. Book by Greg Kotis. Music by Mark Hollmann. Lyrics by Greg Kotis and Mark Hollmann. Scenic design by Clint Ramos. Costume design by Sophia Choi. Lighting design by Justin Townsend. Projection design by Peter Nigrini. Sound design by Nevin Steinberg. Music direction by Mary-Mitchell Campbell. Choreography by Mayte Natalio. Direction by Teddy Bergman. 2 hours, 30 minutes with one intermission. Closes Sunday, February 16, 2025.

Urinetown is that odd experience that is both powerfully relevant to our times, and somehow out of place at the same time. Given the lightning quick turnaround time of an Encores production, a certain amount of leeway could be granted, I guess, but if recent productions are any indication, new insights and big ambitions are not out of reach. 

Maybe my feelings about this production would be much stronger if my memories of the original production weren't still so vivid in my mind. Mayte Natalio's choreography, for example, rarely rises above the mundane, where as the original's was as sharp and witty as the rest of the show, full of clever sight gags and tributes to the various musicals Kotis and Hollman reference throughout their score. But by and large, director Teddy Bergman has contributed little to this show's legacy beyond simply doing it again in New York. That's not to say it is a waste of time; no, the show is still entertaining and a decent metaphor for the rule of the oligarchy. We are closer to that than ever it would seem.

Dominated by a wall of port-a-potty doors and a few pieces that roll on and off, Clint Ramos' set design is efficiently dystopian, as are Sophia Choi's Goodwill-esque hodgepodge of costumes. (Capitalist pig Cladwell looks positively Musk-like in his black suit and turtleneck combination.) Justin Townsend's lighting is serviceable, but one wishes Nevin Steinberg's sound design was better balanced between the orchestra and the cast.

Speaking of the actors, we once again reap the benefits of the short production schedule that allows top-notch casting for the Encores! series. The small ensemble is game for anything thrown at them, be it campy Brechtian characters, hyperbolic snootiness, dancing, singing and acting multiple roles. And the smaller bit roles are handled hysterically by pros Christopher Fitzgerald (Officer Barrel) and Jeff Hiller (Mr. McQueen); the former plays a cuddly shlub, the latter a second banana yes man, with all the affectations his character name implies. As Little Sally, Pearl Scarlet Gold is refreshing as an actual child playing the role, perfecting a tightrope act between blind innocence and world-weary sage, and the endlessly versatile Kevin Cahoon is a riot in a pair of over-the-top comic roles the fit perfectly in his wheelhouse. Greg Hildreth is ultra meta as the narrator and head cop, Officer Lockstock, and turns in the best for the piece performance of them all.

Through no fault of her own, really, understudy Tiffany Mann gives a decent, but uneven performance as Pennywise, gatekeeper to the public toilets. Her readings fall flat and she occasionally struggles with some of the more extreme demands of her songs. Still, it's hard not to root for her and be thankful that she was there to take on the role. Arguably the marquee name here is Rainn Wilson, and he is very funny as the villain, Cladwell B. Cladwell, though he comes off as a bit stiff. Finally, as the ingenue pair, Bobby and Hope, Jordan Fisher and Stephanie Styles are a hilarious duo, playing their roles as hero and heroine with the perfect blend of silliness and earnestness. When Fisher launches into the showstopper "Run Freedom, Run" everyone seems to relax and musical comedy bliss is achieved.

While this isn't my favorite offering from this series, and it is a shadow of its original self, it is still a privilege to see Urinetown,

📸: J. Marcus

Looking Forward to Winter: December 2024 - February 2025

The leaves have fallen, and colder breezes are here. It has even snowed some places! I enjoy the winter months. As a theater-goer, the winter is a great time to catch up on shows we haven't gotten to yet, and an even better time to get some decent deals on tickets. Before we get excited about the coming months, we'd like to take stock of where we've been. Over the past three months of fall, we caught four Broadway shows, and saw the number one movie musical of all time. Like almost everyone, we loved Wicked. I can't wait for Part 2, and, so far, I like the film better than the show! As far as Broadway goes, I loved three out of four, which is pretty good. Though I was largely disappointed with Our Town, I was really taken by  Swept Away (I'm still thinking about it...), and I was thrilled by the electrifying re-imagining of Sunset Boulevard. But it was Maybe Happy Ending that stole my heart. It is one of the best new musicals in some time - loved it so much, we are making a return trip later this month!

So, in addition to a re-visit, what are we looking forward to most this winter?

Looking Forward to Winter:

December 2024 - February 2025

REGIONAL:

A Funny Thing Happened on the Way to the Forum (Signature Theatre - Virginia) 

We've rarely been disappointed by the Tony Award-winning Signature Theater in Arlington, Virginia, a company well-known for their productions of Sondheim shows. We are especially looking forward to Forum because it is rarely performed professionally these days, and this version - with a female Pseudolus - is critically acclaimed.

OFF-BROADWAY:

Urinetown (New York City Center) 

Talk about rarely performed! One of my all-time favorite shows of the early 2000s, it's pee your pants funny and so smart. I can't wait to see it again. It'll be great to see Jordan Fisher and Keala Settle again, and I'm looking forward to hearing about the rest of the company. Mostly, I am excited to share this show with Mike, who missed it the first time around.

BROADWAY - CATCH-UP: Shows from the fall that we can't wait to finally see!

Romeo and Juliet (Circle in the Square)

A youthful, edgy look at this classic could be pretty interesting, and no one directs shows at this challenging venue better than Sam Gold. Normally, that might not be enough to get us there, but this casting has us very excited to see what these star-crossed kids from Verona are up to in 2024-25. I've been hoping for a chance to see Rachel Zegler ever since she caught my eye in West Side Story, and as a mega fan of Heartstopper, how could I miss Kit Connor?

Gypsy (Majestic Theatre)

Oft-revived, it feels like this show is never far away in our memories. I can't believe it's been 15 years! Well, the chance to see the great Audra McDonald in the role everyone wanted to see her play is a no-brainer, and her supporting cast is stacked with many of our favorite performers, including Danny Burstein, Joy Woods, Jordan Tyson, Kevin Csolak and Lesli Margherita. George C. Wolfe always creates interesting productions, too. Plus, we're a little excited to see the inside of the Majestic post Phantom!

Death Becomes Her (Lunt-Fontanne Theatre)

I'm still debating whether or not I should watch the movie first. Either way, how could I miss a trio of the best in the business - Megan Hilty, Jennifer Simard and Christopher Sieber - doing their comedic thing? And I have to see Michelle Williams and company do that number from the Macy's Parade live!

There are several winter openings, too, and these are two we are looking forward to the most!

Redwood (Nederlander Theatre)

Since 2024-2025 has become the Season of the Diva, how could we dream of missing Idina Menzel's Broadway return? I don't know much about the show, but I love the leading lady and greatly admire director-writer Tina Landau. 

Operation Mincemeat (Golden Theatre)

Three reasons I want to see this: it's a sensation in London, I am a definite Anglophile, and I am fairly obsessed with anything to do with WWII. Plus, I am a sucker for a clever show logo. If that show is half as smart and witty as that, I'm sure I'll love it.

When the "Best" Isn't Your "Favorite": Thoroughly Modern Millie vs Urinetown

When the "Best Musical" Isn't Your "Favorite":

Thoroughly Modern Millie vs Urinetown

It was the 2001-2002 season, and we were all still recovering from the shocking tragedy of 9/11. We were all looking for laughs and comfort, and Broadway was providing just that. That season, there were three big shows, all funny, all song and dance. As it all shook out in the long-run, Mamma Mia! ran for years even if it went home Tony-less. The other two shared in the Tony glory and had respectable runs: Thoroughly Modern Millie (903 performances) was crowned Best Musical, while Urinetown (965 performances) took home the triple crown of Best Book, Score and Direction. For months, pundits argued, "how could one have the best book, best score and best director, and not be the best musical?" No matter. It's all history, now.

While I will always have an affectionate spot in my heart, Mamma Mia! is a sugary treat and my go-to for comfort food theater. As for the other two, that year's Best Musical, was my least favorite of the whole season, while the runner-up is still one of my all-time favorites.

I can appreciate Millie, after all it made a star out of Sutton Foster, one of my favorite performers. The principal cast included some other greats including Gavin Creel, Marc Kudisch, Sheryl Lee Ralph and Harriet Harris. There were also some fantastic ensemblists, too; you may have heard of Anne L. Nathan, T. Oliver Reed, Kate Baldwin, JoAnn M. Hunter, and a guy named Casey Nicholaw. 

The dances, choreographed by Rob Ashford were splashy, tap dance and old school musical theater, jazz infused numbers. There were also new songs written for the score by Jeanine Tesori. Again, no slouches there.

Of course, a great deal of Millie would not pass muster today. It's cringe-worthy for its blatant sexism, and it's absolutely insane that even then, its overt racism involving Asian stereotypes played for laughs wasn't called out. Will this ever be revived? Not as originally scripted for certain.

No, that season's Best Musical was not my Favorite Musical. That honor goes to Urinetown. Why? Well, I love shows that push the boundaries of the art form. Okay, in this case it was more of a nudge than a push, but progress was made. Despite the profuse silliness of the entire premise, it still had something to say about capitalism, policing, gender expectation, and class warfare. I like my laughs with a side of meaning. Then, there was the reverence for musical theater history, with its nods to West Side Story, Fiddler on the Roof, Kurt Weill, Bertolt Brecht and others in its staging and choreography (by Tony-winner John Rando and John Carrafa, respectively). The environmental scenery was by a newbie you may have heard of, Scott Pask, who transformed the entirety of the Henry Miller's Theatre, inside and out into a dystopian (tongue in cheek) Hell-scape, from the leaky roof all the way down to the basement bathrooms. (Amazing how a show that sings about the privilege to pee makes you have to go at intermission - there was even a line for the men's room! It was there that they had free souvenirs: a series of postcards!

It was a battle of the Fosters that year: Sutton led Millie; her brother Hunter Foster, was the lead actor in Urinetown. He was a hilarious triple-threat. Other standouts included the always wonderful John Cullum, Jeff McCarthy, Spencer Kayden, Jennifer Laura Thompson, Ken Jennings (Sweeney Todd's original Tobias), and Nancy Opel. They even had several great replacements, including Carolee Carmello, Amy Spanger, Charles Shaughnessy, Tom Cavanagh and Victoria Clark.

The score, though, is probably my favorite part of the whole thing - I still, more than 20 years later, listen to the cast recording. Some of Greg Kotis (music) and Mark Hollmann 's (lyrics) gems include "It's a Privilege To Pee," "Cop Song," "Snuff That Girl," the rousing numbers, "Run Freedom Run" and "I See a River," and my favorite of them all, "Don't Be the Bunny." If you've never heard the score, I highly recommend that you get yourself a copy. And if you have heard it, I suggest you dust off your copy and revisit it. I think it really holds up.

Now, how about a revival? It seems as relevant as ever.

At This Theatre: The Stephen Sondheim

This month's column is really a tale of two theaters, a before and after, if you will. One of my all-time favorite shows played at the "before," and several shows I was underwhelmed by played the "after." The good news is that the complete reconfiguration of this theater offers much better sight lines, comfortable (relatively spacious) seating, and an entrance that is both practical and dramatic. Knowing that I won't get leg cramps and that I will get a great view from the last row of the mezzanine or the front row of the orchestra makes me look forward to returning to the Stephen Sondheim Theatre.

At This Theatre:

The Henry Miller's/The Stephen Sondheim

Shows We Saw There: The Henry Miller's: Urinetown: The Musical; The Stephen Sondheim: Bye Bye Birdie, Anything Goes, Beautiful

How They Rank: I have a feeling that my rankings this month will generate some fun email. But I like what I like.

4. Anything Goes: I loved the 1987 revival of this Cole Porter relic. This revival, not so much. Was it the bland scenery? The bland direction? Well, that had something to do with it. But mostly, it was the uncomfortable miscasting of Sutton Foster as Reno Sweeney. (To be fair, the rest of the casting was good.)

3. Beautiful: Here's another show that everyone seemed to adore - it did run forever a long time. Aside from the excellent music, this was a live Behind the Music that showed very little creativity in the staging or the book. I mean, seriously, was Carole King's life really that easy and problem-free?

2. Bye Bye Birdie: Here's a show I enjoyed quite a bit. Colorful and splashy, and a score that I adore, this revival made me feel so happy. And I thought John Stamos and Gina Gershon were terrific together. (I loved them both in Cabaret, albeit separately.) It made a real case for fun, nostalgic revivals.

1. Urinetown: The Musical: This one, as I noted above, I saw when it was the Henry Miller's. It was the perfect venue for this particular show, with its dingy, run down interior a perfect match for this dystopian comedy. Heck, even the roof leaked! And the bathrooms (come on, I had to go considering the show) were dark and dank. Since they gave out free postcards from racks on the walls above the urinals, and there was humorous signage throughout the area, I have to assume this was part of the overall environmental design plan. The show was great, and the theater was really the icing on the cake.

#2534