At the Stage Door: Meeting Angela Lansbury

"Never meet your heroes, because they're sure to disappoint you." 

I've heard that many times over the course of my life, and I always took it to heart. Of course, that never really stopped me from meeting a few of them. I've been so very fortunate to meet many of the Broadway people I love and look up to. And I don't mean in passing at the stage door.  I mean one-on-one backstage.

Today's blog is about meeting my all time hero - though technically this isn't an "at the stage door" story. This is all about the evening I met Angela Lansbury backstage at the Music Box Theatre following a performance of the play Deuce.

It was the summer of 2007, and everyone was thrilled that, at long last, Ms. Lansbury was returning to Broadway for the first time since 1983. (As most of you know by now, that 1983 stint in Mame marked not only my first Broadway show, but the beginning of my fandom of this great actress.) That summer, she was a vibrant 81, and common thinking at the time was that this was likely going to be her farewell to the stage. Of course, since then, she's returned three more times - Tony nominated each time, winning one for Blithe Spirit. But I digress.

So, my very good friend took me to see Deuce for my birthday and to celebrate the star's return and possible farewell. My friend even suggested I take my souvenir program from Mame and we could wait after the show and maybe she's sign it. In hind sight, I should have known something was afoot - my friend has ZERO interest in waiting for autographs.

Marian Seldes and Angela Lansbury in Deuce

When the curtain call was over, and the house was clearing, my friend just sat there. Odd, I thought, so I asked if everything was okay. "I'm fine," she said, "but there's something I need to show you." "Okay..." And she handed me a printed email from someone I didn't recognize. "Just read it."

The gist was this: Angela Lansbury would love help celebrate Jeff's birthday. Please make your way to the stage door following the performance and give your names at the door; the doorman will call for you when she's ready." I started to cry. I mean, wouldn't you?

I was so nervous. As we waited, just inside the stage door, I whispered (as if this was a church or something), "Now I know why you suggested bringing the program." A young woman approached us. "Is this the birthday boy?" she smiled, looking me up and down. I think I mumbled something that indicated I was. "Well, Miss Lansbury is so excited to meet you and say 'Happy Birthday! Follow me!" My friend hung back. I turned to her, "YOU ARE NOT GOING TO MISS THIS!"

We went up a few steps. The stage was to our right; the dressing room to the left, just above stage level. The door opened and there she stood. "Please come in. I'm so glad you came to see me." She extended her hand and we shook. Her handshake was firm, her skin soft. She smiled. "Did you enjoy the show?" "Yes, of course!" "You know, it's a challenge. A lot of lines, and I play a character that isn't much like people expect from me." I nodded vigorously, my tongue tied, as I remember the collective gasp that came when she said the "c word."

She exchanged pleasantries with my friend and turned back to me. "May I ask why you wanted to meet me for your birthday?" I thought, "Oh my God. This is the chance of a lifetime, don't mess this up." "Well, the very first Broadway show I ever saw was Mame in 1983. It changed my life. YOU changed my life. Thanks to you and that show, I found my passion." She looked slightly taken aback. Uh-oh. Turns out she was just surprised.

"You saw that? We weren't on very long." "Yes, ma'am, I did." "Well, it is so wonderful to know that we made such an impact. Most people know me from TV these days..." She smiled, and looked at the program. "Would you like me to sign that for you?" "Please!"  She sat at her table and wrote, "Love, Angela Lansbury". She stood up, smiling, straightening her quilted robe. Looking me straight in the eye, "I'm so glad we met." "Oh, me, too." I blushed. "Be careful when you go out the door. It can be a little...busy."

We all shook hands again and said good bye. It all lasted about five minutes from start to finish, but what a five minutes! We were shown to the door. "She's not kidding about leaving - be careful!" the young woman said. No joke. We opened the door, and the crowd whooped and I remember being very conscious of flashes going off and being slightly disoriented. I will always remember that and feel respect for cast members that are faced with that every day. It took the crowd about 30 seconds to realize we weren't celebrities. It got quiet real fast. We still chuckle that somewhere about 50 people have pictures of two nobodies leaving the Music Box.

I remember meeting Angela Lansbury like it was yesterday, and I think of it often. She was everything I thought she'd be and more - gracious, warm and strong. And you know what was best of all? She treated us so genuinely - like we were the most important people she'd met that day. I'll always appreciate that. No wonder she's my hero. And I wasn't disappointed at all.

Previously on "At the Stage Door": Meeting Scott Bakula   Meeting the Cast of Pippin

#1924

LOGOS: The Prom

The Longacre Theatre is certainly colorful these days.

Let me say from the outset that I am really looking forward to seeing The Prom in a few weeks. It is topical. It is new and original. It features some of my long time favorite Broadway performers, and it is put together by some of my absolutely favorite theater artists. So much to look forward to.

But...

My thoughts on the show logo are...complicated. Probably too complicated for a fun musical comedy. You see, I like the logo to look at.  It is bright and colorful, with a pleasing aesthetic. I want to look at it closely and enjoy the details. Sounds like A+ stuff, especially considering my criteria - a logo should be bright with a pleasing aesthetic, enough to make you not only notice it, but stop and look at it.

And yet...

The current logo

The old logo
It's not ideal, but I really like it better.

I also have to admit that I think that as advertising material, this is mostly a fail. First of all, there's the title. While it is big and eye-catching, it also seems alienating. Who is the audience for this? Will a grown up look at this and say, "The Prom? It must be one of those shows for teenagers, like High School Musical." Or worse yet, "The Prom? Oh, God. Mine was a nightmare... who did I go with, anyway?" Will a teenager look at this and say, "The Prom? Hmmm...maybe...let me look closer..." So far it's a good thing - a logo should entice. But then... "Look at those cartoon people. They look vintage. And grown-ups with picket signs? This is for old people...nope!" Best case scenario? The young theater-goer will remain interested enough to look into the cast... "Why isn't somebody I've heard of in this? Who will we stan?"

Protest signs and hashtags...

Your typical high school seniors...
note the young lady in the lower right corner...

I've always said that a logo should hint at what a show is about. "Hint" is the operative word here. There's nothing in this artwork (save for the troublesome title) that suggests a prom.  It does suggest stereotypical high school students and protest marches. And these days, that may actually work. Still, I'm at a distinct advantage here.  I know about the story. The logo makes 100% sense if you know the story. You would understand who those sign carrying oldsters with jazz hands are. You would understand the butch girl in the lower corner, ostracized by the rest of the image. But if you don't know the story would you look at this and be interested enough to find out about the story?

Girl, alone and overwhelmed...

At this point, there's nothing to be done about the title. But I'm not sure why the promoters aren't aiming for both the young and old.  Why aren't they talking up the Mean Girls connection to the director? Why aren't they hawking the controversial teen-needs-support story line to Dear Evan Hansen fans? By this point, Caitlin Kinnunen should be the name on everyone's lips. And their Twitter timelines and Instagram stories. As luck would have it, it opens well before the reemergence of Be More Chill, why not try for some of those kids who are waiting until February for their Chill pill?

Look out Squigs! I see Chris, Angie, Beth and Josh!

This show also has a built in opportunity for teens and their parents to see something they may both enjoy. So why aren't they trying to appeal to the parents with making a connection to the show via The Drowsy Chaperone (writers and Tony-winning star - check)? Or playing up to true Broadway fans by pushing Brooks, Christopher, Angie and Josh? To be fair, The Drowsy Chaperone suffered from the same odd title/target audience. Maybe this will be hit on that order. (I hope so.)

Like I said, I like the logo, but as advertising, I really don't think it works.

Grade: D

#1923

BROADWAY HEAT: King Kong Edition (The Final 4)

HOT on Broadway (adj): fierce, talented, big potential; has "buzz"; has "it" factor.

BROADWAY HEAT: KING KONG EDITION

The Men of King Kong

We are so close now! And speaking of close, one of the Final 4 made it this far by ONE vote. Literally every vote counted last week.  I have a feeling this week will be just as tight.

NOW Who in the Cast of King Kong will you send to next week's Championship Round?  You don't have to have seen the show yet to vote, and you can vote as many times as you like! Tell your friends!



REMEMBER: YOU MUST CLICK "FINISH SURVEY" AFTER THE LAST QUESTION, OR YOUR VOTE WILL NOT COUNT! The poll is only 2 questions but the pictures are big - so keep scrolling!

THIS POLL WILL CLOSE AT 5PM ON FRIDAY, OCTOBER 26TH.

#1922

The Friday 5: 5 Sondheim Shows On Video

One of the best things about being a Sondheim fan is that there is no lack of material to watch or listen to. It seems almost every major show or Stephen-related event is recorded (though I'm still bitter about the lack of cast recording for the recent Pacific Overtures revival...). So this week, here are my top five favorite shows by/about Sondheim that have been preserved to video. I'm sure we won't agree, so feel free to email, Tweet, or send me a pic of your favorite on Instagram - addresses above!

The Friday 5:

The 5 Best Sondheim Shows on Video

5. Sweeney Todd: The Demon Barber of Fleet Street - Original Production

This is my absolute favorite Sondheim show. Angela Lansbury is my favorite actress, and George Hearn is one of my favorite actors. They are great together, and they sing the hell out of the score. So why is this only number 5? Well, the filming is clunky, and there's so much scenery chewing -even for a melodrama - that every time I play it, I see bite marks on my TV.  (I'm looking at you, Betsy Joslyn...) Still, I'm glad it is preserved. I wish they had done the same with the LuPone/Cerveris revival.

4. Passion - Original Broadway Cast

Gorgeously filmed - it's like watching a moving painting, really. And the quality is both cinematic and intimate. It's also great that the original staging (underrated in my opinion) is saved for the ages. That the performances are great is obvious, but a great bonus here is hearing the commentary track featuring Donna Murphy, Jere Shea, Marin Mazzie and Sondheim himself.  It is insightful, honest and really funny.

3. Into the Woods - Original Broadway Cast

The entire original cast, a pretty straight forward filming that captures the sheer theatricality of James Lapine's staging, and Bernadette Peters rapping... what more could you ask for? Well, there's also the absolute perfection of Joanna Gleason as the Baker's Wife. Hers was among the greatest musical performances of all time. And I also appreciate that 99.99% of the time (save for a few minutes of Ben Wright's performance) there's no "extra" acting for the camera.

2. Company - Revival Cast

I loved this show when I saw it (both times), especially from the front center orchestra seats. This was a show that demanded you pay attention to the performers.  And their detailed performances were perfectly captured in this filming. Here, the show played on film just as it did in the theater. It is also proof positive that Broadway needs Raul Esparza and Barbara Walsh back and soon.

1. Sondheim! The Birthday Celebration

I love this soooo much. The ending, when the company fills the stage and the aisles of the Avery Fisher Hall at Lincoln Center to sing "Sunday," brings me to tears, as it did Mr. Sondheim. The all-star cast and the New York Philharmonic are unmatched.  It's hard to pick any one number as a favorite, so here's a few: "Move On" with Mandy Patinkin and Bernadette Peters, the hilarity of Patti LuPone with two Sweeneys, Michael Cerveris and George Hearn, doing "A Little Priest," and "You're Gonna Love Tomorrow," featuring four of my favorite performers: Jenn Colella, Laura Osnes, Matt Cavenaugh and Bobby Steggert. But the absolute highlight of the whole thing has to be when 6 of musical theater's greatest actresses - LuPone, Peters, Donna Murphy, Audra McDonald, Marin Mazzie and Elaine Stritch - dressed in red, take the stage and watch each other perform the greatest hits. And is there any better thing than Stritch giving LuPone a standing ovation after "Ladies Who Lunch"? How great that we have both Stritch and Mazzie at the top of their game preserved forever.

Two giants of Broadway
Sunday in the Park with George didn't make the cut...

#1921

#TBT: Playbill: RENT: May 1996

Sometimes when you see a brand new show you can tell it is going to be a success. Other times - rarely - you can just tell a brand new show will be a game-changing phenomenon. When I saw RENT the first time, it was only a few performances old. It wasn't sold out; there was no stand-by line; there was no lottery line. But I still knew that what I was seeing was going to change musical theater as we knew it.

How could I possibly know that? Well, it was so...different...the sound...the subject matter...the passion of the cast...the staging. All of it felt risky and not a sure thing at all. But i just knew. I think it had something to do with forgetting to blink. Or breathe. It was positively electric. And that cast full of unknowns. I remember distinctly being most impressed the Sarah Jessica Parker's brother was in it.

Of course, hindsight is 20-20. So many cast members became superstars. Musicals moved away from those 80's mega-musicals. Social consciousness as musical subject matter was back in style. Gay content moved beyond drag queens "putting on a show." The low-cost lottery system was born. And the show and score and its creator have become legend.

I am so grateful to have had this amazing experience.

(Click the images below to enlarge.)

May 1996

RENT

Nederlander Theatre

16 previews, 5,123 performances

May 1996 Cast: Adam Pascal, Anthony Rapp, Daphne Rubin-Vega, Idina Menzel, Fredi Walker, Jesse L. Martin, Taye Diggs, Wilson Jermaine Heredia, Gwen Stewart

Book, music and lyrics by Jonathan Larson. Directed by Michael Greif

The original cast title page
(And nothing says "RENT" like an ad for Bermuda, right?)

Wow! They sure look young...

The Song List

Talk about a good time to see shows on Broadway... 3 Andrew Lloyd Webber shows (Cats isn't listed, but it was still playing.), Les Miz and Miss Saigon? And with tickets starting at $15!? Plus a chance to see two Rodgers and Hammerstein shows and Show Boat!? And a Sondheim show!? Plays by Albee, McNally and Wilson... 3 (soon to be 4) Pulitzer Prize winners, and one finalist... Let's not forget the star power, too... Nathan Lane, Elaine Stritch, George C. Scott, Charles Durning, Matthew Broderick, Sarah Jessica Parker, Zoe Caldwell, Carol Burnett, Philip Bosco, Betty Buckley, Julie Andrews, Tony Roberts, Michael Nouri and Rachel York. Good times!

#1920

Welcome To The Theater! The Broadway Debuts in Plays October/November

Over the next three weeks, five new plays are opening, and with four of them come twenty-five Broadway debuts! The cast of the fifth, The Lifespan of a Fact, is made up entirely of veterans. In any case, today we celebrate these performers.

Here's to great reviews, a terrific run and many more Broadway Opening Nights! Congratulations to all of you.

THE FERRYMAN

Opening Night: Sunday, October 21, 2018

Bernard B. Jacobs Theatre

Dean Ashton (Frank Magennis)   Paddy Considine (Quinn Carney)

Charles Dale (Father Horrigan)   Justin Edwards (Tom Kettle)

Fra Fee (Michael Carney)   Tom Glynn-Carney (Shane Corcoran)

Stuart Graham (Muldoon)   Mark Lambert (Uncle Patrick Carney)

Carla Langley (Shena Carney)   Matilda Lawler (Honor Carney)

Rob Malone (Oisin Carney)   Michael Quinton McArthur (Declan Carney)

Genevieve O'Reilly (Mary Carney)   Glenn Speers (Lawrence Malone)

Niall Wright (James Joseph "JJ" Carney)   Gina Costigan (Understudy)

Carly Gold (Understudy)   Holly Gould (Understudy)

Bella May Mordus (Understudy)   Griffin Osborne (Understudy)

THE WAVERLY GALLERY

Opening Night: Thursday, October 25, 2018

John Golden Theatre

Lucas Hedges (Daniel Reed)

Brian Miskell (Understudy)

TORCH SONG

Opening Night: Thursday, November 1, 2018

Helen Hayes Theatre 

Ward Horton (Ed)   Rob Morean (Understudy)

AMERICAN SON

Opening Night: Sunday, November 4, 2018

Helen Hayes Theatre 

Amelia Workman (Understudy)

#1919