Logos: Twelfe Night, or What You Will and The Tragedie of King Richard III

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In a season unusually crowded with large scale, commercially visible productions of Shakespeare plays, you really have to stick out to be noticed, I'd think.  And, while I know some of you think a dissection of a show's logo might be digging into the minutiae, the way producers are selling these shows could make a difference in gaining the theatre-goer's limited dollars.  It is difficult enough to get bottoms in the seats of plays in general (versus musicals), and one imagines that an audience for multiple Shakespearean productions would be even more difficult.  So selling the show will probably be even more key to turning a profit than good reviews and star power alone.

Two of the four Shakespearean plays currently on Broadway are Twelfe Night, or What You Will and The Tragedie of King Richard III, and I think the producers have really done pretty much they can to get people to buy what they are selling.  And their product has a top notch pedigree - in import from London, performed by a notable Shakespearean troupe, led by an acclaimed stage actor (which is rare all by itself these days - "a stage actor!")  Adding to it all is the presentation of these shows: one comedy, one tragedy, presented in repertory and done as traditionally as possible, with an all-male cast.  Most all of that figures into the logo for this show.

Grade: A+

The title itself signals that there will be a traditional approach to the show.  Both titles, popular, but not over-produced, stand out by using their Elizabethan spelling.  No Twelfth Night and Richard III  here.  The "misspelling" is eye catching, and using the whole titles make you stop and read the whole thing.  And there is the font, which looks like those handbills that the Globe Theatre's shills used to pass out on the streets of London.  I also love how they start the whole thing with "Mr. William Shakespeares" (no apostrophe making it all the more rustic).

And what better way to show off the repertory aspect of the show AND the star at the same time, by showing old-style photos of Mark Rylance and BOTH Richard III and Olivia.  Even if you don't know who Rylance is, you can tell that it is the same person in both pictures.  And then it hits you: a man is dressed like a woman!  Drag show?  No.  But traditional Shakespeare, for sure.  And he looks so distraught as Richard III, highlighting the tragedy; a man dressed as a supercilious looking queen - royal, not drag - is funny all by itself, highlighting the comedy.  And, finally, on the marquee version, I love how the picture of Olivia is upside down, suggesting that if you just flip the sign over, you'll know which show is on that day.  Again, it is funny, too (in a knowing chuckle kind of way); Richard III upside down would be a poor choice.

Old-style Shakespeare production.  Check.  Repertory.  Check.  Major star.  Check.  Comedy and tragedy.  Check.  Standing out from the crowd. Check check.

Jeff
5.037

REVIEW: London's Merrily We Roll Along

Review of the Digital Theatre, CinemaLive film presentation of the Menier Chocolate Factory production of Stephen Sondheim and George Furth's Merrily We Roll Along. Filmed at the Harold Pinter Theatre in London's West End.  A Fathom Events showing on Wednesday, October 23, 2013.  Starring Mark Umbers, Damian Humbley and Jenna Russell, with Clare Foster, Josefina Gabrielle, Glyn Kerslake and Zizi Strallen.  Production directed by Maria Friedman.  2 hours, 50 minutes, including a brief documentary, and one intermission.

Grade: B-

I went into the screening of Merrily We Roll Along with the highest of hopes.  After all, this production received across-the-board raves when it opened on the West End.  Sondheim himself has given it his blessing as "the best production of [the show] he'd ever seen."  Don't get me wrong.  This is a very good presentation of a frequently troubling work; director Maria Friedman has worked hard to clear it up for newcomers to the piece, and is quite successful.  But, perhaps because I've never really had a problem understanding the backwards story, and I actually enjoy that it starts in the darkest part of these people's lives, all of that clarity caused me to enjoy it less that I had hoped for.  No new revelations or "ah ha" moments for this theatre-goer.  In fact, with all the effort put in here to make the show work for the masses, it actually pointed out an inherent flaw and really underscored issues with less than ideal casting.

When the lights came up at intermission, I had two overwhelming feelings.  First, the role of Franklin Shepard really suffers if his charisma and charm never peek through the wall of despair and humbling sadness the character feels as the show starts.  It is hard enough to like this jerk at the start, and without so much as a glance at the appeal this man has makes it impossible to feel for him when he admits he hates his life, wishes it was over and that he is just acting happy to get through day-to-day.  Despite his good looks and nice singing voice (nice, not exceptional) Mark Umbers does everything right (right, not exceptional) but with almost no charisma jumping out at me off the big screen.  He is much better in act two, but I still never quite got why his Frank was drawing in everyone around him like moths to a flame.

"It's a Hit!"

Second, and even more troubling, is the glaring imbalance between songs and scenes.  This is not my first viewing of this show, but this is the first time that I really noticed just how much talking and time there is between songs.  Talk about too much exposition!  I know they talk a lot about the past and where they all are now to clarify things, but really, just how much does the average attendee at a Sondheim show need done for him or her?  And I also never realized how long the song "That Frank" goes on and on.  Until now, that had been my favorite addition to the show.  Now, not so much.

Act two, on the other hand, comes on like gangbusters and never lets up.  True, the characters are increasingly happy and the pieces really fall into place.  You know where these people are headed and they don't, which makes you feel for them.  And the act is packed with the best songs in the show, including "Not a Day Goes By," "It's a Hit," "Opening Doors," and one of my favorite Sondheim songs in his entire canon, "Our Time." But Friedman's staging is also better here, sharp and consistently clever.  This is no small fete on the minuscule (and relatively unattractive) set designed by Soutra Gilmour.  (Her costumes are much wittier and very time specific.)

Josefina Gabrielle (center) and "The Blob"

Despite a clunky Southern accent (does everyone in the world think unsophisticated Americans are backwoods hicks?) forced upon the character Beth, and a completely miscast child as Frank, Jr., the supporting cast is uniformly terrific.  Clare Foster as Beth sings beautifully and is a good actress, accent not withstanding.  Zizi Strallen exudes a heady mix of innocence and sexuality as Meg, Frank's latest affair.  And Glyn Kerslake does fine work as Joe, devolving from homeless guy to enthusiastic new producer.  I have to say that this is the first time I've noticed any Joe so much. But it is Josefina Gabrielle that really stands out among the supporting cast.  As Gussie, she gives an incredibly detailed performance, with each movement and each key line emphasized just so, so that we can remember the future as her past comes into the light.  She is brilliant whether she's being a bitter, booze-fueled bitch, a glamorous Broadway star (including a number where she seems to be channeling Ruthie Henschall in Chicago) or a timid up-and-coming gal Friday.

Frank, Charley and Mary
Umbers, Humbley, Russell

But the real find here is the casting of Damian Humbley as Charley and Jenna Russell as Mary.  Humbley is superb, and watching him devolve from crushed wallflower to the thoughtful, opinionated best friend everyone deserves is very satisfying.  His "Franklin Shepard, Inc." is funny, yet biting, sad, yet bitter, and excellently delivered.  Throughout the show I kept hoping for some chemistry between him and Mr. Umbers.  There isn't much, really, making it all the more remarkable that Humbley is so damned good.  However, it is Ms. Russell that delivers the evening's finest performance.  Every look, glance, bit of business - literally everything she does reveals a deep understanding of this complex woman.  Bitter as a drunk, jealous with unrequited love, and the ultimate best friend.  She is BY FAR the best Mary I've yet seen.  The excellence of these two almost makes up for a lacking Franklin.

I can tell a production of Merrily We Roll Along has really affected me when I get a sentimental mistiness during "Our Time."  I was pretty close. But not close enough...

Jeff
5.036

Broadway on TV: First Date

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THIS POLL WILL CLOSE AT 6 PM ON SUNDAY, OCTOBER 27TH!

Of the two new musicals that opened over the summer, only First Date is still plugging along.  Although it is pretty steady at the box office, one wonders how much longer this little charmer (review HERE) will be around, as the bigger, splashier shows start opening.  I thought I'd take this time to see what they are doing to try and lure audience members, on TV at least.  And I found two commercials to evaluate.  I don't live in New York or the surrounding area, so I'm not sure which (or both) of these is being shown there.



TV Spot 1: "Clowns" Grade: A-

This ad finds a great balance between the typical Broadway musical commercial and utilizing the show's greatest assets, its leads, Zachary Levi and Krysta Rodriguez.  There is the tried and true fast cut of scenes, revealing a charming character-driven show: lots of close-ups on the cast acting silly, and quite a bit of action, letting us know that, despite a single set, there's plenty of song, dance, movement and laughs.  And there is the expected voice-over, reading the critical quotes.  Cut into this brisk 31 seconds is a "reality" check of Levi and Rodriguez at a restaurant - just like in the show - telling us how fun this show is to be in, and ending with an out of place joke, which is exactly how the show goes.  You get what you expect, and them something fun and and unexpected happens.  The only drawback, kind of, is that it ends with the pair onstage kissing.  This gives away the ending, but I can understand that the producers want to draw in all the folks who dream of romance and a kiss from cutie pie Levi.  And I'm sure there are more than a few out there that wouldn't mind a lip lock from Ms. Rodriguez, either!

TV Spot 2: Audience Testimonial  Grade: A

This spot, like the other, offers both the typical Broadway musical ad and highlights a unique aspect of this particular show.  Long a staple of such ads, this one combines critical quotes with man on the street testimonials lavishing praise on the show they just saw.  What is interesting, and somewhat unusual, is that some of these testimonials are from men!  Smartly, the producers have included guys in the praise, showing tat this will appeal to both partners on date night.  And it is true from my experience - the day I saw it, the men were having as good a time as all the matinee ladies.  But this ad also wisely (and perhaps to appeal again to men) emphasizes two unique qualities of this particular show: it is short and there is a great after show street party where you can get pics and autographs with the stars.  We know it is short from the time stamp in the corner, and someone mentions that it is 90 minutes of fun.  And then the paparazzi film style shows the cast being silly for the camera while signing everything in sight and posing for photos with the adoring fans.  Clearly, First Date is as fun after as it is during!  The icing on the cake is the final image - the show logo with ticket info, emphasizing that tickets can be had for as little as $35 each.  Smart all the way around, if you ask me.

Jeff
5.035

Broadway on the Internet: Spotlight on Broadway

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As you know, theatre is my passion.  Facts, statistics, performers, shows, hits, flops... theatre history is my drug.  Imagine my delight at the brand new website sponsored by the City of New York, spotlightonbroadway.com !

Grade: A+

It is a one stop shop for anything and everything you ever wanted to know about Broadway's 40 theatres.  Tons of vintage photos and Playbill covers, interviews with actors, directors, choreographers, producers and impresarios tell the story of each building.  Their voices give first person points of view about what it is to perform on each of those stages.  The images show their entire history, often from construction photos all the way up to the theatres as they are today.  Video clips offer exciting glimpses into the shows that made history.  And best of all, it puts the information into city history and theatre history perspective. (For example, the Winter Garden was a "horse palace" where the city's workers came to buy and trade horses to pull trolleys, buggies and carriages.  Just as the city was transitioning away from a horse-driven to a horse-less carriage society, the building transitioned from animal arena to entertainment palace.)

I really only was going to check out a few entries... but about three hours later and almost half of the theatres checked out, I am HOOKED.  Organized in a variety of ways - by theatre, by architectural features, by featured show, by "storytellers" (Angela Lansbury, Chita Rivera, Matthew Broderick, Glenn Close, Sergio Trujillo and David Hyde Pierce are just a few I watched), by professionals (hear from everyone from a choreographer to a lighting designer to the head prop master!), and by the movers and shakers (Jimmy Nederlander, Sr. is just too cute for a older guy!).  Even the narrators are interesting: I heard from Eric Bogosian, Brian Stokes Mitchell and Audra McDonald; I'm not sure if there are more.

The good news is that this site is scholarly... well-researched, comprehensive, and with an eye toward the full spectrum of history - not just the big shows are featured, but also those that changed they way we look at life.  The better news is that this site is user-friendly - you can get to the information in any number of ways, and each way leads you to new discoveries.  And the best news is that it is all entertaining!

You cannot miss with this site, whether you are a student, a professional or a theatre fan like me.

Jeff
5.034

HOT or NOT Round 5: After Midnight Edition

It was a sleeper hit a couple of seasons ago (under a different title at Encores!), and if the message boards are any indication of its future on Broadway, After Midnight will be huge.  This revue celebrating Harlem's Cotton Club and the music of Duke Ellington and others with the words of Langston Hughes, features Fantasia Barrino, Dule Hill and Tony-winner Adriane Lenox, and a large cast of renowned jazz singers and specialty dancers.  The show is now in previews at the Brooks Atkinson Theatre, opening November 3rd.  And now the cast is the subject of the latest round HOT or NOT!

For the fifth time this season, it is up to you to decide who moves on to the finals in our quest for THE HOTTEST MUSICAL CAST OF 2013 - 2014!  Objectifying, I guess, but really also just silly fun.  That said, let me remind you that "HOT" is not just based on beauty or matinee idol looks or a killer bod.  Also up for consideration is their performance, their "buzz-worthy-ness," and the trajectory of their career.  Is their role this time around a milestone or a misery?  Are the chat rooms a-buzz with delight or humming with impending doom?  HOT to look at isn't enough to make it into the finals - even the cutest can be a "NOT"!  To see who has already made the finals, click HERE.

Now, without further ado, here is the cast of After Midnight!  To see their pics, scroll past the poll.  THIS POLL WILL CLOSE AT 6 PM ON SUNDAY, OCTOBER 27TH! (Be sure to click "Done" at the bottom of the poll to make your vote count!)

ON A SCALE OF 1 (ICE COLD) TO 10 (SMOKIN' HOT) 

WHO IS "HOT" AND WHO IS "NOT"?

USE THE EMBEDDED SCROLL BAR TO GO THROUGH THE WHOLE POLL!

Create your free online surveys with SurveyMonkey , the world's leading questionnaire tool.

FEATURED ACTRESS

Fantasia Barrino and Adriane Lenox

Karine Plantadit and Dormeshia Sumbry-Edwards

FEATURED ACTOR

Julius "iGlide" Chisolm and Virgil "Lil' O" Gadson

Jared Grimes and Dule Hill

MALE ENSEMBLE

Phillip Attmore, Everett Bradley, Christopher Broughton 

C.K. Edwards, Monroe Kent, Cedric Neal

T. Oliver Reid, Desmond Richardson, Daniel J. Watts

FEMALE ENSEMBLE

Marija Abney, Taeler Elyse Cyrus, Carmen Ruby Floyd

Bahiyah Hibah, Rosens M. Hill Jackson, Erin N. Moore

Byronha Marie Parham, Monique Smith

MALE SWING

David Jennings, Justin Prescott

FEMALE SWING

Danielle Herbert, Alyssa Shorte

DON'T FORGET! CLICK "DONE" TO MAKE YOUR VOTE COUNT!

POLL CLOSES AT 6PM ON SUNDAY, OCTOBER 27TH!

Jeff
5.033

Milestones: Big Numbers, Big Stars

These days, and in the weeks ahead, Broadway is/will be all about the numbers.  Here are but a few to celebrate:

October 16, 2013: The Booth Theatre turned 100 years old!

Outside...

... and inside

The Booth is the only Broadway theatre to have

housed 2 Pulitzer Prize-winning musicals

October 16, 2013: The great Angela Lansbury turned 88 years young!

October 16, 2013: The web-series, It Could Be Worse, surpassed its goal of raising $50,000.00 by nearly $12,000!  Season two here we come!

Co-stars Wesley Taylor

and Gideon Glick

October 16, 2013, 2:30PM: Pippin celebrated 200 performances!

Pippin, Catherine and cake.  

What better way to celebrate 200 shows?

October 19, 2013: Mamma Mia! plays its 4,979th and final performance at the Winter Garden Theatre!

October 20, 2013 (The week of): The Lion King will become the first Broadway show in history to have grossed $1 billion!

October 21, 2013: Roz Ryan sets a new record for number of performances in the Broadway Company of Chicago - with a whopping 224 weeks (and counting) over the years!

That's a whole lotta Mama Morton!

October 30, 2013: Wicked turns 10 years old!

The special "greenified"

10th anniversary Playbill

Entertainment Weekly held a witchy

reunion for the 10th anniversary!

November 2, 2013: Mamma Mia! begins performances at the Broadhurst Theatre!

The new marquee

In the next few weeks: Mamma Mia! will celebrate 5,000 performances!

Within the year: The Lion King will surpass the original production of Les Miserables to become Broadway's 5th longest-running show!

Hakuna Matata!

Jeff
5.032