Why Is SMASH Failing?

Before season 2 premiered, it seemed like it was on the fast track to make up for last season's major problems: a poor plot, bad writing, ridiculous characters, and weird dream sequences. As Theresa Rebeck, the show's creator and writer was replaced by Gossip Girl's Josh Safran.

Then season 2 premiered with a huge, 2-hour season premiere. The episode was good, not great, but you could tell they were trying to clean up last season's messes. They also had some of the best music that a SMASH episode has had yet, like "Cut, Print...Moving On" and "Broadway, Here I Come." The new characters introduced, Jeremy Jordan's Jimmy, Andy Mientus' Kyle, Krysta Rodriguez's Ana, and Jennifer Hudson's Veronica, were all welcome additions that gave the show a fresh feel.

Then there was a week long hiatus. People seemed to kind of forget the show was happening and it lost the little momentum it had.

When SMASH returned last night, it definitely stayed to a much more streamlined plot, focused almost entirely on the business of the shows being produced. But it was very weak. The music, except for Hudson's rendition of "Home," was bland and didn't live up to earlier standards. The streamlined story made us, as viewers, lose something: characters we care about.

I'm by no means saying that I want SMASH to go back to last season's fiasco, but I think it needs to really figure out what it's trying to be and do THAT very well.

Last night's ratings showed a further dip, and I just hope the show can survive to see the plot get better and a rating's bump when THE VOICE returns in late March.

Did you watch SMASH? Any feelings?

REVIEW: GOOD PEOPLE at Arena Stage

This weekend I went to see a production of David Lindsay Abaire's newest play GOOD PEOPLE at Arena Stage in Washington, DC. Abaire has long been one of my favorite playwrights. His play, RABBIT HOLE, is my favorite play of all time. And while I've never seen one of his plays live before this, he is most definitely still my favorite after seeing this production.

GOOD PEOPLE is the story of Margie, a woman far below the poverty line from the Southie area of Boston. After she is fired from her job, she is reconnected with an ex-boyfriend who has gotten out of Southie and is now a successful doctor. When she goes to him to try to find a job, a series of events follow that brings up old feelings and memories and leads to an unexpected evening.

The production was expertly executed from acting to directing to the technical aspects. The show struck the perfect balance of comedy and drama, without anyone feeling as if the play was trying to make fun of lower class people or people of different races or ethnicities. The actors were so truthful in their representations of these lower class characters, that I couldn't separate the actors from the story, which does not happen for me in the theatre too often.

Johanna Day, a Tony Award nominee for her performance in PROOF, was brilliant as Margie and showed the tough skinned woman with such perfect balance of toughness and heart that when she came to crossroads in her life, we as the audience truly felt for her. While she struggled for some lines at times, it played off as emotion and she regained footing without missing a beat.

The supporting cast was equally as strong, portraying much more comedic sides to those living in Southie. I had some personal qualms with some of the acting choices, but they were all made with such strength, that it overall still led to an almost perfect evening.

The set was amazing, because they used a simple background, with box sets that could easily come on and off stage to serve as the different homes and locations.The set was high quality, as one would expect with Arena, but still realized that they were sets and not real homes/offices.

The sound design, which was an original score for the production that underscored the lengthy scene changes, was brilliant and I hope it gets recognition for its beauty and power.

What the GRAMMY'S Mean for MUSICal Theatre

Tonight is music's biggest night, the Grammy Awards. While that may be, it is by no means even close to the biggest name for musical theatre. That award goes to the Tony's which happen in June. So why does tonight even matter to the theatre community? Well, there is one award given for musical theatre (Best Musical Theatre Album).

It used to be that this award solely went to the producers of the album, meaning not too much actually happened for those involved in the show. But as of last year, principle vocalists now take home Grammys as well. For example, last year Andrew Rannells and Josh Gad also took home statues in addition to the producers of the BOOK OF MORMON cast album.

This gives a much stronger argument for why the Grammys mean anything for musical theatre actors. It is nice to see the mainstream world giving credit to the actors who are featured in Broadway shows, but also who lend their voices and influence the success of cast albums.

Here are the nominees for tonight's broadcast:

Follies

Danny Burstein, Jan Maxwell, Elaine Paige, Bernadette Peters & Ron Raines, principal soloists; Philip Chaffin & Tommy Krasker, producers (Stephen Sondheim, composer/lyricist)
(New Broadway Cast With Danny Burstein, Jan Maxwell, Elaine Paige, Bernadette Peters, Ron Raines & Others)
Label: PS Classics

The Gershwins' Porgy And Bess

David Alan Grier, Norm Lewis & Audra McDonald, principal soloists; Tommy Krasker, producer (George Gershwin, composer; Ira Gershwin, Dorothy Heyward & DuBose Heyward, lyricists)
(New Broadway Cast With Audra McDonald, Norm Lewis, David Alan Grier & Others)
Label: PS Classics

Newsies

Jeremy Jordan & Kara Lindsay, principal soloists; Frank Filipetti, Michael Kosarin, Alan Menken & Chris Montan, producers (Alan Menken, composer; Jack Feldman, lyricist) (Original Broadway Cast With Jeremy Jordan, Kara Lindsay & Others)
Label: Ghostlight Records/ Razor & Tie

Nice Work If You Can Get It

Matthew Broderick & Kelli O'Hara, principal soloists; David Chase, Bill Elliott & Robert Sher, producers (George Gershwin, composer; Ira Gershwin, lyricist) (Original Broadway Cast With Matthew Broderick, Kelli O'Hara & Others)
Label: Shout! Factory

Once: A New Musical

Steve Kazee & Cristin Milioti, principal soloists; Steven Epstein & Martin Lowe, producers (Glen Hansard & Marketa Irglova, composers/lyricists) (Original Broadway Cast With Steve Kazee, Cristin Milioti & Others)
Label: Masterworks

And my thoughts:

SHOULD WIN: FOLLIES - this is one of my favorite cast albums because it sums up the show so well and features great vocals and production value

WILL WIN: ONCE - it was critically acclaimed and is the most "mainstream" of the albums.

UPDATE: As I predicted, ONCE won the Grammy! Congratulations to all involved!

That's SMASHing!

Yesterday, my twitter feed was acting like a major world event was happening, like an election or inauguration. The only problem was that it wasn't an event of national importance. It was the second season premiere of the NBC show SMASH.

For the unaware, SMASH is a TV series that follows the lives of the creative team and actors of a musical aiming for Broadway. They focus on the drama on stage and off. Last season, the focus was solely on a musical based on the life of Marilyn Monroe, BOMBSHELL. After some major creative changes, including adding showrunner Josh Safran (Gossip Girl) and losing creator and main writer Theresa Rebeck (Seminar, Dead Accounts), the show is now focusing on a wider set of shows (including a new Rent-esque musical HIT LIST) and cutting the ridiculous unrelated-to-the-show story lines.

SMASH was the pinnacle of "hate-watch" television last season, and it was very obvious after last night's two-hour premiere, that they are definitely trying to clean up and move on from last season, as evidenced by the opening number of  the episode "Cut, Print...Moving On." They've cleaned the story up a lot (they still have a long way to go) and have expanded the music styles to include some of musical theatre's most up-and-coming composers. Also, I'm just putting it out there, I've already listened to the new song "Broadway, Here I Come" on repeat.

SMASH is definitely moving in the right direction. The new characters are great, especially Jeremy Jordan (Newsies)'s Jimmy Collins, and have upped the acting quality insanely already. As someone who loves many of Broadway's lesser known actors and biggest up-and-comers, it's great to see people like Jordan, Andy Mientus, and Krysta Rodriguez show up on the TV.

I am interested to see where this season goes, but will definitely stay along for the ride. Here is a preview of the season premiere to give you a taste of the show.

I Want That Soundtrack! I Mean Cast Recording...

                                      

The amount I've been corrected when I say "soundtrack" in regards to a CD produced for a musical is greater than I can count. But it was successful, because now I correctly refer to these recordings as "cast recordings" and get duly annoyed when people mix them up.

Now, I also am someone who still enjoys a physical CD. I know, it's the 21st century, but for some reason, buying a physical CD makes it seem more real. This is especially so with cast recordings, because they typically feature production photos and exclusive content from cast members or members of the creative team.

Now, in the theatre industry, recording a CD is a difficult task, because typically, unless the show is a huge hit (a la Wicked or Phantom of the Opera), it is difficult for a cast recording to sell enough copies to make financial sense. So why do we still get so many cast recordings?

Well, first, to document some of the best performances from the stage. This is especially true for revival cast recordings, where the score is already preserved and well-known. Secondly, especially for newer shows, without a CD as a base, it is less likely for shows to be licensed for performances in regional and amateur theatres around the country.

Lastly, it could be for the reason I love cast recordings. As a college student of limited means who doesn't live in New York City, a cast recording is a phenomenal way for me to here a recording of a show or performance I couldn't see, or something I loved so much and would love to experience again, but can't afford another ticket.

So with that, here are some of my favorites (and of course links for if you want to sample or buy it yourself).

Favorite Classic Cast Album: Into the Woods (Original Broadway Cast Recording)
Favorite Revival Cast Album: Follies (2012 Broadway Cast Recording)
Favorite Modern Cast Album: Next to Normal (Original Broadway Cast Recording)
Favorite Off-Broadway Cast Album: [title of show] (Original Cast Recording)

REVIEW: Happy 25th Birthday PHANTOM!

So today marks a major milestone in Broadway history. It is the 25th anniversary of the opening of Andrew Lloyd Webber's PHANTOM OF THE OPERA. While tonight's performance, in honor of the birthday, is "invite only," I was luckily able to see the show last night (obviously with the same cast as tonight's celebration will have).

I had never seen PHANTOM live before, but have had heavy exposure. I knew every word to the cast recording, had seen the movie with Gerard Butler and Emmy Rossum, and had seen the filmed live version of the London 25th anniversary (w/Sierra Boggess who is Christine on Broadway now).

Seeing it live was an experience unlike any other PHANTOM experience I have had. From the opening chords of the overture through curtain call I was engaged in the magic that was happening on stage, proving how this show survived 25 years on Broadway.

First, I need to start with the performances (because that's the first thing I pay attention to at any show). Sierra Boggess IS Christine. While I've heard her sing Christine before, seeing her play the role was amazing. I wish Tony Awards were given out for replacements still because less than a week into her run with the show, she was flawless. Hugh Panaro as the Phantom was unique. Vocally he sounded phenomenal and he acted the part extremely well, but it was a very different Phantom than I have ever been exposed to. It was not the dark, ominous, deep (vocally) Phantom, but rather a more insecure, almost clown-like (in the classical sense) representation of the Phantom. It was by no means bad, it was just unexpected.

In terms of the supporting roles, I didn't love Kyle Barisch's Raoul. Again, it was vocally flawless (as was everything in this production), but it didn't have that certain spark that I feel the character needs. Based on his representation (SPOILER ALERT) I don't get why Christine chose him over the Phantom. Ellen Harvey (who I have seen in 3 different shows this year, check out my rave for her in INTO THE WOODS here) was phenomenal as Madame Giry. She was in a role in which she could shine as an actress. She fits exactly what Giry needs to be, a strong actress who can play strict well with a gorgeous voice. And lastly, Kara Klein, who plays Meg, was exactly what I always find Meg to be, bland, boring, and annoying. Except that's not the actress' fault, it's just how the character is written.

Now, technically this show is gorgeous. I won't give much away, but the sets and costumes were phenomenal, its hard to think they've looked this good for 25 years. Also, the lighting was great, with some really good aesthetic choices, but not at all over the top.

After seeing this performance, I understand how it has lasted so long and why it is one of the world's favorite musicals, and I look forward to seeing the show again at its 50th anniversary performance.

Here's a video of Sierra singing her opening aria, "Think of Me."

Magneto & Professor X to Bring WAITING FOR GODOT to Broadway

Magneto & Professor X, sorry. I mean Ian McKellen and Patrick Stewart will star in  WAITING FOR GODOT on Broadway this fall. They will perform it in repertory with NO MAN'S LAND at a theatre to be announced.

I think they will be great, especially because their performance was critically acclaimed in London. It is interesting for two plays to be done in rep on Broadway. I've never heard of that being done, and am curious to see how it will play out.

I love Beckett's play and think they are both brilliant actors who will do great work.

Not Everything Should Be a Movie: Jekyll & Hyde Version

With the uber successful film adaptation of LES MISERABLES keeping everyone's attention on the musical theatre world, it is no surprise that in its wake many movie musical adaptations have been announced. Matt Stone & Trey Parker, creators of South Park, announced this month that they are starting a film production company (mostly to create a BOOK OF MORMON movie adaptation). And just today, it was announced that the rights have been purchased to turn JEKYLL & HYDE into a movie.

Frank Wildhorn's musical, which had a lot of success on Broadway when it first debuted, is on a national tour with American Idol's Constantine Maroulis and Deborah Cox, and will return to Broadway this spring. Personally, I'm not a huge fan of the musical, especially with stunt casting like this, and it made me think: What's better? Hollywood making more movie musicals, even if they aren't the best, or focusing on big hits and strong musicals? (Also, bets that Hugh Jackman plays Jekyll/Hyde and Anne Hathaway has the female lead?)

Les Mis was so successful because it is a great musical (one of the world's most popular) done with an all-star cast by an amazing director and creative team. Can the same be said of a movie musical of JEKYLL & HYDE? A mediocre musical, with decent but not great brand recognition, and so far no known casting of creative team. I don't think so.

As a huge fan of musical theatre, I'm glad to see Hollywood embracing it, but I think there need to be limits because I don't want to see everything made into a movie. What's going to be next? A movie adaptation of LEGALLY BLONDE THE MUSICAL?

SMASH Season 2 First Impressions

Keeping with tradition, SMASH released its first hour of the season online prior to its official air date on February 5th. Well, I watched it and can definitely say that this season is shaping up to be a lot stronger than the first season.

It started with a new number from the now Broadway-bound Bombshell. The song, "Cut, Print...Moving On," is your typical Bombshell number with fun music and great dancing. It's not the best we've seen, but definitely a strong start to the season.

The drama of this first hour definitely started to tie up some loose ends from last season, so I'm not going to judge the drama too hard. Last season needed to be let go, and this hour successfully did that by dealing with Michael Swift (Will Chase) and Frank (Brian d'Arcy James).

The third, and best part of the episode was definitely the new characters. Jennifer Hudson, Jeremy Jordan, and Andy Mientus were amazing. It was fun hearing new, super talented voices, and new writers (Joe Iconis). The highlight, by far, was Jordan's closing song: "Broadway Here I Come."

I am so excited for the rest of the season and can't wait for more. If you missed it, check it out here.

Rachel Potter Releases Broadway Star-Studded Music Video

Rachel Potter (Evita) has released a new music video for her original song "Live The Dream" featuring some major Broadway stars. The music video features Ricky Martin, Max Von Essen, Orfeh, Constantine Maroulis, and Michael Cerveris.

It's great! Check it out below!!

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