Friday 5: Two Ladies: Shows With 2 Female Leads

"Bee-dle-dee dee dee dee, I like it, Bee-dle-dee dee dee dee, We like it, Bee-dle-dee dee dee dee, This two for one!"

So sings the giddy Emcee in Cabaret. We all know what that song suggests. But there is another way we like to enjoy two ladies - when they are the leads in a big Broadway show! Here are Friday 5 of our favorites!

Two Ladies: Shows with 2 Female Leads

Chicago (1975-76 & 1996-97*) Velma Kelly and Roxie Hart In 1975, Bob Fosse brought his musical vaudeville to Broadway with two legends in the starring roles - Gwen Verdon as Roxie and Chita Rivera as Velma, and the rest is history. Well, that is until the show came back in the mid-90s with Ann Reinking as Roxie and Bebe Neuwirth as Velma. The two Merry murderesses have been hoofing it on the Great White Way ever since, and the show is now the 2nd longest running show in Broadway history! Nowadays and forever it would seem.

Death Becomes Her (2024-25*) Madeline Ashton and Helen Sharp The newest dynamic duo to hit the Rialto, Megan Hilty (as Madeline) and Jennifer Simard (as Helen) bring new meaning to "dueling divas." These two spar (literally and figuratively), and go head to head in vocal pyrotechnic sing-offs and pure comic genius. Together, they are a riot, on stage and off. And we are all the better for it.

Side Show (1997-98 & 2014-15) Violet and Daisy Hilton One of my favorite shows of all time, this riveting near pop opera tale of real-life conjoined twins was a hard sell both times it has been on Broadway, but those luck enough to see it had to be as dazzled by the women in those roles as I was. The originals, Alice Ripley (as Violet) and Emily Skinner (as Daisy) made history when they were co-nominated for Best Actress in a Musical at the 1998 Tony Awards. Both Erin Davie (as Violet) and Emily Padgett (as Daisy) also made their mark in the revised revival version of the show. In both cases, I couldn't imagine one without the other.

The Rink (1983-84) Anna and Angel Though I never saw the show on Broadway, I adore the score, and really enjoyed a college production I saw of it. When it opened at the Martin Beck Theatre in early 1984, even the great Chita Rivera (as Anna) and legendary Liza Minnelli (as Angel) couldn't help the show overcome mostly negative reviews. That said, they sang the hell out of the emotional Kander and Ebb score, and Rivera won her first Tony Award for it. It's a show with great roles for two powerhouse women, and I'd love to see it with a revised book and maybe a female director some day.

Wicked (2003-04*) Glinda and Elphaba Definitely the most successful musical of the 21st century, this show takes girl power to all new levels! Despite mixed reviews, audiences (myself included) have been flocking to the Gershwin Theatre for more than 2 decades now. From the original Glinda (Kristin Chenoweth) and Elphaba (Tony-winner Idina Menzel) and through dozens of subsequent pairings, we've thrilled to the magical relationship these two share. Some of Broadway's greatest new talent has taken on these giant roles, and I'm sure more superstars of tomorrow are on the way.

* - Show is currently running.

2024 - 2025 Broadway Musical Logos: Real Women Have Curves

The busy spring of each Broadway season seems especially so this year. Today, we continue with our examination of each musical logo with a pair that have quite a bit in common, yet are unique. Monday, we looked at the one that is already open; today, we will take a deeper dive into the one still new to previews.

2024 - 2025 Broadway Musical Logos: 

Real Women Have Curves

Now in previews, Real Women Have Curves has a lot in common with Buena Vista Social Club. Like the latter work, Real Women is based on an acclaimed prior work - in this case, a successful play and movie. A story of triumph over circumstance and the power of family, Mexican-American culture takes the stage in a funny, heartfelt new musical. How well does the show's artwork reflect that, and will it sell the show to Broadway fans and long-term tourists alike?

The logo is a vibrant blend of colors that both appropriately call the culture of the show to mind while being eye-catching at the same time. The vibrant red background is certainly eye-catching, but for my money, the floral pattern is the biggest hit here. It makes me want to look closer at the whole thing - a definite plus in terms of advertising. The red is also a perfect background for the bright orange-yellow of the title, the white of the tagline, and the bright purple highlights each letter. The font, bold but simple, seems vaguely hand drawn, giving the feel of something homemade, rustic. Traditional.

The show art is completed with the central image of an Latina woman in a dress made of the same floral print that shows off her feminine curves. From what we can see of her, this is a confident woman, whose parted lips and hands on her hips dare you not to give her your full attention. A second iteration of the logo features original cast members, similarly garbed and full of strength, attitude and warmth. And, they do, in fact, have a variety of curves - nice to see. I suspect as the show goes on we will see more of this kind of advertising, as it speaks directly to not only its target demographic, but to a larger potential audience. And that makes this a successful logo.

Grade: A+

2024 - 2025 Broadway Musical Logos: Buena Vista Social Club

The busy spring of each Broadway season seems especially so this year. Today, we continue with our examination of each musical logo with a pair that have quite a bit in common, yet are unique. Today, we look at the one that is already open; Wednesday, we will take a deeper dive into the other.

2024 - 2025 Broadway Musical Logos: 

Buena Vista Social Club

First up is the critically-acclaimed Broadway transfer of Buena Vista Social Club which tells the story behind the international sensation that is the Grammy-winning album of the same name. A story of triumph over circumstance and the power of music, Afro-Cuban culture takes the stage in an exciting new musical. How well does the show's artwork reflect that, and will it sell the show to Broadway fans and long-term tourists alike?

The logo is a vibrant blend of colors that both appropriately call the culture of the show to mind while being eye-catching at the same time. The subtly textured terracotta orange is a lovely background for the rich yellow of the title, the white of the tagline, the deep green of the line, and the intense, yet comforting red-brown that highlights each letter and frames the artwork. The font, bold but simple, also calls to mind the Cuban culture, and the stars that make the center of the "A"s are both a nod to stardom as well as the influence of the Cuban Revolution.

The show art is completed with the central image of an Afro-Cuban woman (Natalie Venetia Belcon), smiling, head tilted back in a triumphant song at a traditional microphone. She is happy - a strong woman living her best life. It wordlessly tells you pretty much all you need to know about the show.

Grade: A

Wednesday:

Broadway Games: Name That Show! Hirschfeld: The Final Round

We were so fortunate to be around the theater scene when Broadway caricaturist Al Hirschfeld was alive and working. I remember checking out the Sunday New York Times any time a new show was about to open. His art accompanied many an article about the latest plays and musicals. It always amazed me how a few simple lines could capture not only the actors, but the essence of their performance and the show itself. 

This week's game is one last round of his later works. Thank you, Mr. Hirschfeld.

Broadway Games:

Name That Show! 

Hirschfeld: The Final Round

Here are Hirschfeld prints from several of shows from the mid-1980s through the early 2000s. Can you name the show being portrayed?

1.

 

2.

3.

4.

5.

6.

7.

8.

Broadway Games: A Chain Reaction

All this week, we are offering up Broadway Games!

Broadway Games:

A Chain Reaction

DIRECTIONS: These are "chain reactions." After the first clue, the next answer begins with the last letter of the previous answer.

For example: 

The narrator of Sunset Boulevard 🠞 The original Christine

Joe GilliS  🠞 Sarah Brightman

The common letters create the answer to the puzzle!

SOLVE FOR THIS CLUE: She's a Tony-winning director. It runs in the family. 

___ ___ ___ ___ ___ __🠟_  Director/Producer extraordinaire Prince (6 letters)

__🠟_ ___ ___ ___ __🠟_  The Princess of Wales musical (5)

__🠟_ ___ ___ ___ __🠟_ Seagull playwright Chekov (5)

__🠟_ ___ ___ ___ __🠟_ She sings "As Long As He Needs Me" in Oliver (5)

__🠟_ ___ ___ ___ ___   __🠟_    ______ ___ Good Man, Charlie Brown (2 words: 5/1)

__🠟_ ___ ___ ___ __🠟_ My Fair Lady's " ______ Gavotte"

__🠟_ ___ ___   ___ ___ ___ ___ __🠟_ The Phantom of ____ ______ (2 words: 3/5)

__🠟_ ___ ___ __🠟_ Come From ______ (4)

__🠟_ ___ ___ ___ __🠟_ Li'l Abner's Dogpatch matriarch Mammy _____ (5)

__🠟_ ___ ___ ___ ___   ___ ___ ___ __🠟_ Zazu is Mufasa's in The Lion King (2 words: 5/4)

__🠟_ ___ ___ ___ ___ ___ ___ __🠟_ PonyBoy Curtis is one.

SOLVE FOR THIS CLUE: She's a Tony-winning director. It runs in the family. 

ANSWER: (2 words: 5/6)

 __🠟_ __🠟_ __🠟_ __🠟_ __🠟_ __🠟_ __🠟_ __🠟_ __🠟_ __🠟_ __🠟_

Friday 5: 5 Pro-Shots We'd Love to See

With this week's announcement that the live-filmed production of Merrily We Roll Along will be released in theaters, we got to thinking about other productions we'd love to see a pro-shot of. I mean we know many shows are preserved for the Lincoln Center Archive, but I am thinking of similar treatment to shows that many of Sondheim's shows have gotten - Sunday in the Park with George, Sweeney Todd, Passion, Into the Woods. And here are 5 that made our list (alphabetically - we want them all!):

5 Broadway Pro-Shots We'd Love to See!

A Chorus Line - Original Broadway Cast: One of my all-time favorite shows, I'd love to see it when it was fresh, with the original company. Maybe the most meta performance in Broadway history, the people who the show is actually about, performing their own stories - the idea alone thrills me.

Follies - Original Broadway Cast: When I asked Mike what he would choose, I'm not sure he even had to think about it, he answered so fast! "It's because of the legendary cast and extremely expensive design that apparently had to be seen to be believed."

Grand Hotel: The Musical: Fittingly for a musical based on a film, Tommy Tune's non-stop staging was very cinematic. Not only was the staging grand, the characterizations were so beautifully specific. What could make a better movie? Big dances and thrilling close-ups - you'd think Tommy Tune was thinking just that when he put it all together.

Head Over Heels: I loved this show so much! It was fun from start to finish, and I left with a goofy grin on my face. Why wouldn't I want to relive that on demand? Plus, seeing the details of the costumes and scenery up close would be amazing.

The Mystery of Edwin Drood - All versions: I make no secret about the fact that I adore this show. So this pro-show would need to be a hybrid of all the varied productions to make this complete. It would star the original cast - Betty Buckley belting "The Writing on the Wall" at my whim? Howard McGillin at his suave, wicked best any time I want to see him? Sign. Me. Up. Plus, I'd want the songs reinstated for the Broadway revival - "An English Music Hall" for example, and "A Private Investigation" from London/Australia. Naturally, all of the endings would have to be included. How about "guest stars" like Donna Murphy as Dick Datchery? Karen Morrow and Chita Rivera could do the Puffer endings - you get the drift.

2024 - 2025 Broadway Musical Logos: Smash

It seems like a lifetime ago that I was obsessed with Smash on TV. The backstage lives of Broadway wannabes and icons alike was like a weekly drug. And that was just watching it to see who I recognized! Add to it the compelling story about getting a musical about Marilyn Monroe (and later a more modern musical) to the Great White Way, with a banging score and sexy choreography, and this theater lover was thrilled each week. 

Now, after years of hints, a concert and SRO staged readings, Smash is finally, inevitably, on Broadway. Focusing only on Bombshell, the Marilyn musical, the show is now in previews and is soon to open. I suspect that no matter what the advertising looks like, the TV show's fans will flock to the Imperial. But what about other potential ticket buyers?

2024 - 2025 Broadway Musical Logos:

Smash

The title work and font seem pretty obvious - giant marquee letters, bright red and glowing bulbs. All of them lit seems to imply that the show in question is an unqualified success...a smash. (I could have sworn an earlier iteration had some bulbs unlit and/or missing...)

The taglines cover a lot of ground in terms of content, while giving, possibly, some shade to the banality of Broadway taglines. The first, "The Bombshell Is About to Drop" is clever word play - "Bombshell" in a musical about Marilyn Monroe, the quintessential blonde bombshell; "about to drop", like a bomb being dropped set to explode; the theatrical meaning: a flop show. Perhaps most importantly, it's an in-joke/signal to fans that the show will be about everything but that other "show" within the TV show, Hit List. The second tagline, "A Comedy About a Musical" is certainly a play on that most usual of such things, "A Musical Comedy." It also lets audiences know that the intent here is fun, not drama.

The chief imagery used on the Playbill and window card is far more interesting and clever that the taglines it illustrates. The black and white image allows the title of the show stand out, cleverly perched atop the Imperial's 45th Street marquee/box office entrance. A closer look shows the bombshell tagline, and just below that, a cheeky play on the ubiquitous need to use pull quotes. I love that sense of meta humor. The rest of the busy image does a great deal of work. It's a red carpet opening with celebs and paparazzi all vying for our attention. One glance at it tells a passerby all they need to know: Marilyn has arrived in her iconic skirt blowing up pose while adoring fans look on and the photographers get their shot. But sharp-eyed fans will really see more, and it also tells the story of the show. Robyn Hurder in opening night gown glares at "Marilyn" who is taking her role and her spotlight. The principal cast, in character, also look on - Brooks, Krysta, Kristine (with fan blowing wind up her skirt), John, etc. And in a really fun, insider twist, the "paparazzi" includes actual theater writers, interviewers and influencers. (My invite must have gotten lost in the mail...)

All of this combined makes a doozy of a show logo. One of my favorites of the season, really. But if you follow any of the chat rooms and other social media, you know that so far, the show is not exactly coming across as a smash. So when I saw the show art below, I couldn't decide if they are cheekily acknowledging public opinion (it would match the tone of their other taglines) or if they are really tempting fate...

Grade: A