At This Theatre: The Sam S. Shubert Theatre

This month's theater is one that is special in many ways. Its facade is iconic with its "lights of Broadway" 44th Street corner marquee and awning-covered entrance. It is also the flagship theater of the Shubert Organization. Personally, this space holds a very important place in my theater-loving heart. It has been the home of several of my favorite performances, plays and musicals, including my all-time favorite musical, A Chorus Line.

At This Theatre:

The Sam S. Shubert

  

# of shows we saw there: 10

Shows we saw there: A Chorus Line, Big: The Musical, Chicago, Crazy For You, Hello, Dolly!, Matilda: The Musical, Memphis, To Kill a Mockingbird, Some Like It Hot

Our Top 5 Favorites at the Shubert:

5. Crazy For You: Believe it or not, this was my first brush with a "new" Gershwin musical. There have been several since, and they all pale in comparison. It is due, I think, in large part to Susan Stroman, who made her Broadway debut with this extravaganza. Risky, witty and dazzling, every number was better than the last. Of course, its stars, Harry Groener and Jodi Benson (and their superstar replacements, James Brennan and Karen Ziemba, were at least their equals) were electrifying!

Where We Sat: Side orchestra and center front mezzanine; both locations were great.

4. To Kill a Mockingbird: One of the greatest plays I've ever seen, the show did Harper Lee's masterwork more than justice, with fine performances by the huge cast, lead by Jeff Daniels, Gideon Glick and Tony-winner Celia Keenan-Bolger.

Where We Sat: Center upper balcony. Far from the stage, but an excellent view. Not for the faint of heart, there are no elevators and what feels like 300 stairs.

3. Matilda: Oh how we loved this charming, thought-provoking fantasy musical! Maggots rejoice! Clever and visually stunning, this was musical theater heaven. Just the thought of the swings during "When I Grow Up" makes me teary.

Where We Sat: Center front mezzanine. A perfect view.

2. Chicago: What can I possibly add to the discourse surrounding the longest-running American musical in Broadway history? Well, the cast I saw was incredible: Ruthie Henschall as Velma Kelly, Sandy Duncan as the greatest Roxie Hart I've ever seen, Brent Barrett as Billy Flynn, and the late-great Marcia Lewis as Mama Morton. It was beyond fabulous.

Where We Sat: Front center orchestra. For Chicago, pure perfection!

1. A Chorus Line: The show that changed my life. It was only my fourth Broadway show, and still to this day my absolute favorite musical. I felt an instant connection to each dancer on the line, and felt seen with the inclusion of gay characters. I knew representation was important decades before it became a (necessary) social watch word. 

Where We Sat: Center center orchestra. A singular sensation!

In summary, we've sat just about everywhere in the Shubert flagship, and I don't think there's a bad seat in the place.

2022 - 2023 Logos: KPOP and Some Like It Hot

In an increasingly visual media world, creating the right look - the right brand - can spell success or disaster for any product. Simply put, how something looks can translate to big business or epic failure. Theater has been in this game for decades, long before clicking, trending, etc. A great piece of show art can generate ticket sales, and, importantly, merchandise sales, where happy theatergoers become walking billboards for their new favorite show.

Today, we continue our look at the key art of the shows from the 2022-2023 Broadway season. Did these logos help get ticket buyers interested? Would either entice you to run around your home town in a t-shirt bearing their logo?

2022 - 2023 Broadway Season Logos:

KPOP and Some Like it Hot

KPOP

Well, unfortunately, we already know that the key art for this musical didn't help its box office numbers at all. And of course, its failure had to do with a lot more than any image on a magnet. But what did the logo offer on its own? 

I think that as purely a title logo, what they started with was the most visually appealing. There's something striking and sleek about a completely black background, and it suggests a sort of modern glamour. The high tech, industrial look of the font really mimics this tale of a 21st century music factory, and the blend of color from hot pink to purple to blue is vibrant. It also mimics the color pallet of the three central acts of the story: mWe (Pink), RTMIS (Purple) and F8 (Blue). True, I can tell all of this because I've seen the show. That said, I'd wear a t-shirt with this on it.

Then, for some reason, they changed the look, putting the blend, this time only pink to purple, to the background, with the logo in white. It's not nearly as striking as the first, though perhaps they thought this might appeal more to young girls who represent their largest target audience. Personally, I don't care that much for it.

Finally, we come to the last iteration, and the one that makes the most sense. Unfortunately, this came too little too late. Here we still have the title art, in clear white over what should have been the center of the ad campaign to begin with: the KPOP acts. Cute, innocent-but-subtly-sexy boys, a glamorous diva, and sassy, smart-looking girls. This, in my opinion, would appeal to the widest variety of potential audience members, from KPOP fans to musical theater fans looking for something new and fresh.

Grade (for the full campaign): B- (If only they'd started where the ended!) 

Some Like It Hot

Next up is the critically-acclaimed, though decidedly lukewarm at the box office, Some Like It Hot. 

I find the whole thing to be visually appealing. The bright blue background, and the summery reds, oranges and yellows evoke a warmth (ok, heat) based on the title alone. The three figures capture a jazzy, big band vibe. And that art-deco-yet-modern font lets us know that the show may be set in the 30's, but it is definitely relevant today.

That's what they want us to think. 

Sure, the figures show a racial profile that matches the casting. That's a good thing. And it erases the show's central conceit - men dressing as women to escape a mob hit. A good, if wholly dishonest thing - truth in advertising, blah blah blah. 

But they had a real chance to highlight the great part of the story - when Jerry discovers their true self in Daphne. I mean, it's not like the producers and creative team didn't address these issues in the book and score. What are they afraid of?

One of the key themes in this updated version of an old movie is self-acceptance and living in your truth. It's a real shame the company couldn't do just that in their advertising.

Grade: C

One That Got Away: Anastasia

One That Got Away:

Anastasia (2017)

There are many reasons why someone might miss a show altogether. Maybe it closed before you could get to it. Maybe it was too hard to get a ticket. Or maybe it's simply not of interest to you. But it is a real head-scratcher for me as to why I missed Anastasia.

Let's take a closer look at this. It was at the Broadhurst for two full years, so there were plenty of chances to see it. It was written by some of my all-time favorite creators: Terrence McNally (book) and Lynn Ahrens and Stephen Flaherty (score). I love everyone in the principal cast, particularly Ramin Karimloo, Derek Klena, and Anastasia herself, Christy Altomare. Doubly perplexing was missing Klena and Altomare after adoring them together in Carrie. And the astonishing (and award-winning) projections by Aaron Rhyne were the standard-making talk of the town - how could I not see that for myself.

Confession time: I have completely avoided the cast recording. I've not, to my knowledge, heard a single note of the score. I'm afraid I'll love it. Then I'll really kick myself for this One That Got Away!

Anastasia began its 34 previews at the Broadhurst Theatre on March 23, 2017, and opened on April 24, 2017. It was nominated for two 2017 Tony Awards: Best Featured Actress in a Musical (Mary Beth Peil) and Best Costume Design of a Musical (Linda Cho). After 808 performances, the show closed on March 31, 2019.

📸: M. Murphy

Broadway Jeopardy! - Game 2

Broadway Jeopardy! 

It's game time again, Broadway fans! This. Is. Jeopardy!: one Jeopardy round, one Double Jeopardy round, and Final Jeopardy, plus one (not so hidden) Daily Double. Good luck!

Today's Jeopardy round category is Famous Lines. We'll quote a play or musical, you name the title of the work. Get those signalling devices ready... and go!

Famous Lines

"And now, Mr. DeMille, I am ready for my close up."

"So attention must be paid."

"To love another person is to see the face of God."

"You brought music back into the house. I had forgotten."

 

"All the world's a stage."

Now it's time for Double Jeopardy! Dollar values are doubled. Today's category is Jobs in the Theater. We'll describe the position, you name the job. Grab those signalling devices! Good luck!

 

Jobs in the Theater

We scan your tickets, hand out Playbills, we tend bar, and we sell you magnets. Collectively, we are...

I call the shots and keep the show fresh.

I help you hear the show with 

a huge panel of computers and monitors.

I am in charge of the scenery that comes in and out 

of your sight line, usually from above the stage.

I am responsible for reporting the receipts and accurate sales figures to producers and the Broadway League.

And now, Final Jeopardy! Carefully calculate your wagers, based on your knowledge of today's category: Suddenly Seymour.

Suddenly Seymour

He originated the role of Seymour Krelborn

STOP SCROLLING NOW

(UNLESS YOU ARE READY FOR THE CORRECT QUESTIONS!)

JEOPARDY

FAMOUS LINES

$200: What is Sunset Boulevard?

$400: What is Death of a Salesman?

$600: What is Les Miserables?

Daily Double: What is The Sound of Music?

$1000: What is As You Like It?

DOUBLE JEOPARDY

JOBS IN THE THEATER

$400: What is the front of house staff?

Daily Double: Who is the Production Stage Manager?

$1200: Who is the sound technician/board operator?

$1600: Who is the fly operator?

$2000: Who is the box office treasurer?

FINAL JEOPARDY

SUDDENLY SEYMOUR

Who is Lee Wilkoff?

Star-to-Be: Kimberly Akimbo's Justin Cooley

🌟Star-to-Be:🌟

Kimberly Akimbo's Justin Cooley

In a lot of ways, Justin Cooley is already a star. Barely in his 20's, this guy is already a multiple award winner, was the toast of off-Broadway last season, and has an enviable Broadway career. What a great opportunity for theater-lovers everywhere that we get to witness the start of what is bound to be a long, much lauded journey of artistry and fame.

In researching today's article, I found out some interesting facts:

• He's 1/4 Hawaiian.
• He fell in love with the stage when he was cast in the ensemble of Hairspray at his Kansas City high school.
• Unlike Seth in Kimberly Akimbo, he plays the trumpet instead of the tuba.
• He takes his Nintendo Switch everywhere with him.
• Among the shows and roles he's appeared in in high school and his hometown area are All Shook Up, Tarzan (Terk), 13 the Musical (Evan), and Anastasia (Dmitry).
• He collects rocks and crystals, and is an astrology enthusiast.

It was his role in Anastasia that gained him praise and recognition. He won Kansas City's Blue Star Award, which earned him a 2021 Jimmy Award nomination, becoming a Finalist. After high school, he began college in Texas Christian University's musical theater department. Then he was asked to audition for Kimberly Akimbo, and the rest is history. Playing Seth at Atlantic Theater garnered him 2022 nominations from the Lucille Lortel, Drama Desk, and Outer Critics Circle Awards. Perhaps the greatest honor Mr. Cooley has received to date is a 2022 Theatre World Award.

I have a feeling there are many more accolades coming his way. Maybe even an award with a silver spinning medal on it... 

REVIEW: Sunset Boulevard (Kennedy Center)

Review of the matinee performance on Sunday, February 5, 2023 at the Eisenhower Theater at the John F. Kennedy Center for the Performing Arts. Starring Stephanie J. Block, Derek Klena, Nathan Gunn, Auli'i Cravalho, Paul Schoeffler and Michael Maliakel. Based on the Billy Wilder Film. Book and lyrics by Don Black and Christopher Hampton. Music by Andrew Lloyd Webber. Scenic and projection design by Paul Tate dePoo III. Costume design by Alejo Vietti. Lighting design by Cory Pattak. Sound design by Kai Harada and Haley Parcher. Music direction by Ben Cohn. Choreography by Emily Maltby. Direction by Sammi Cannold. 2 hours 40 minutes, including one intermission. This production closed on Wednesday, February 8, 2023.

Grade: A+

D.C.'s answer to New York's Encores! series is The Kennedy Center's Broadway Center Stage, an annual trio of musicals that are put together in a matter of days and performed for a week or so. The current offering is Sunset Boulevard which is much more than a "staged reading," and closer to a fully realized production. 

For me, there were two big reasons to see this revival: it is my favorite Andrew Lloyd Webber score, and I just had to see what Tony-winner Stephanie J. Block would do with the delicious role of Norma Desmond. Those two reasons were more than justified. The 21-piece orchestra under the skilled baton of Ben Cohn is glorious, bringing out the nuance of each motif and the broad ebb and flow of Webber's lush melodies. And Ms. Block simply does not disappoint with her epic star turn. 

A complex mix of narcissism, self-involvement and delusions of grandeur, her Norma is also very witty - Block mines comedy in places I'd never thought likely throughout Black and Hampton's book. What is particularly excellent about this more funny take is that it helps to endear her to the audience, and, in turn makes her final descent into madness all the more touching. She also sings the hell out of the score, particularly in her two big numbers, "With One Look" and "As If We Never Said Goodbye," but also in quieter moments like "Surrender" and "New Ways to Dream." When she throws back her head to belt, "I've come hooome at llaaaasst" we are witness to musical theater bliss. I've seen several Normas over the years, and I can say she is possibly second only to Betty Buckley. It is really a shame this run is so short. Her star turn is one for the ages.

Nathan Gunn as Max is equal parts foreboding cipher and mysterious caretaker. His operatic, booming voice literally shook me in my seat during "The Greatest Star of All." Michael Maliakel charms as Artie Green, while Paul Schoeffler gives a strong, yet sweetly paternal performance as Cecil B. DeMille.

Perhaps the closest thing to a casting misstep here is Auli'i Cravalho, who seemed like a rather ingenue-by-numbers Betty Schaeffer. Compared to everyone else, she was pretty bland; acceptable, but not much more. Perhaps she just needs more time to settle in and grow. She struggled with the higher notes in "This Time Next Year." That said, there were glimmers of a fully fleshed out character, especially in Betty's scenes with Joe Gillis, where she was engaged, nuanced and very well sung - their duet, "Too Much in Love to Care," was second act vocal highlight. 

Speaking of Joe Gillis, the biggest surprise here was the exceptional performance of one Derek Klena. I have always enjoyed his work previously, but it is really great to see him play an adult. A magnetic presence throughout, Mr. Klena does some truly amazing heavy lifting: he brings out the very best in Ms. Cravalho, and has absolutely steamy chemistry with Ms. Block. He also, by far, delivers the best sung and acted Gillis I've seen - perhaps even definitive. (I may just have to re-visit Moulin Rouge! when he returns.) And let me say that for the first time, the title song is a genuine aria.

In terms of design, Alejo Vietti's lavish costume design matches the glamour of the piece, and Cory Pattak's lighting is quite dramatic, alternately colorful and darkly moody. Kai Harada and Haley Parcher do a fine job with sound - the balance between the singers and the orchestra is very good. Only "Let's Have Lunch" muddled, which may have been more a result of the staging than the sound design. The one design element that was lacking - and again this may have more to do with the staging than anything else - is Paul Tate dePoo III's scenic design. Appropriately spare given the inherent limitations of the series, my qualms have nothing to do with any lack of sumptuous details. Rather, it is the set up itself, which has a far upstage playing space rendered largely un-viewable by at least one-third of the audience at any given moment, depending on where exactly the action is. Why  can't it be seen? There are floor-to-ceiling staircases flanking the center stage orchestra that bend in at a severe angle downstage. They also leave only a small downstage space for the fair-sized cast to do Emily Maltby's athletic choreography amidst a variety of set pieces.

Much has been said about director Sammi Cannold's feminist take on the show, including a shift in the role of Joe as narrator to a shared narrator between Joe and Betty. As a man, maybe I missed it, but the only unusual thing Betty did was write everything she learned (from a man, mind you) in a journal. Turns out it was much ado about nothing, with a pretty much by-the-original-book show. Perhaps Cannold's time would have been better spent working out staging that the whole audience could see. Still, there are some clever moments. For example, Norma's return to Paramount Studios is staged here without a car, and she has provided a decent substitution by having Norma, Max and Joe arrive on foot at the gate.

Even with these shortcomings, Sunset Boulevard is a must-see ticket. The cast, the score and the orchestra make this a stellar event. If you have the chance to get down to the nation's capital between now and Wednesday, I'd highly recommend grabbing a ticket. It is absolutely fabulous!

📸: J. Kyler, M. Klein & J. Daniel

The JKTS/2022-2023 Broadway Season Survey

The JKTS/2022-2023 Broadway Season Survey

Today, we are looking for your input. Below is a 10 question survey, with 5 questions about our website, and 5 about the current Broadway season. All the questions are multiple-choice, and all are required. Be sure to tap the "finish" button at the bottom of the survey or it won't count. The survey program I use takes a bit of time to load. Please be patient. 😄

NOTE: This survey does not collect any personal data for their use or mine. It is secure. We will be collecting surveys from February 1 - 10. THANK YOU FOR YOUR TIME AND HELP!

Answers to Last Week's Game:

Broadway Jeopardy! - Game 1

BROADWAY THEATERS

$200: A: Cats, School of Rock, The Music Man

Q: What is the Winter Garden Theatre?

$400: A: Show Boat, Starlight Express, Wicked

Q: What is the Gershwin Theatre?

$600: A: Sunday in the Park With George, Once On This Island, Next to Normal

Q: What is the Booth Theatre?

Daily Double: A: Sunday in the Park With George, Plaza Suite, Head Over Heels

Q: What is the Hudson Theatre?

$1000: A: Sweet Charity, Legally Blonde, SpongeBob SquarePants

Q: What is the Palace Theatre?

NAME THAT MUSICAL

$400: A: "Bring Him Home" "I Dreamed a Dream" "Master of the House"

Q: What is Les Miserables?

Daily Double: A: "Honey Honey" "Under Attack" "Voulez Vous"

Q: What is Mamma Mia?

$1200: A: "Johanna" "Kiss Me" "God, That's Good!"

Q: What is Sweeney Todd?

$1600: A: "Firework" "Nature Boy" "Chandelier"

Q: What is Moulin Rouge!?

$2000: A: "Anagram" "Better" "Great Adventure"

Q: What is Kimberly Akimbo?

DIRECTOR-CHOREOGRAPHERS

A: He created a Best Musical winner made up of numbers from his own shows. The tagline was "The Musical of Musicals."

Q: Who is Jerome Robbins?

The show was 1989's Best Musical, Jerome Robbins' Broadway.