Spring On Broadway: Some Special Awards

It is officially spring on Broadway and shows are opening (and closing) right and left. Both new shows and revivals are opening in the next month, so they can be eligible for this year's Tony Awards. I thought I would post some predictions/awards of my own of what I think will happen over the next few weeks.

RUNAWAY HIT AWARD: Matilda - it was a runaway smash in London, and based on early observations, it will do these same here.

Runner-Up: Pippin - it's bound to be great and got great reviews in Boston, but won't quite achieve the success Matilda will. It will probably be hard to get a ticket though for some time.

SURPRISE HIT AWARD: Motown: The Musical - while it lacks a true book, this jukebox musical has already been selling out (despite its quality being poorly received and questionable). I think this could be the next Jersey Boys due to its great song catalog.

COULDA-SHOULDA-WOULDA AWARD: Hands on a Hardbody - despite decent reviews, this show isn't at the level it could have been and will probably close soon, despite its great concept and dedicated cast.

THE LITTLE ENGINE THAT COULD AWARD: Annie - it has had mediocre reception and in a crowded season, especially in the arena of family-friendly musicals, this show will fly under the radar, but it's name recognition will keep it around (at least through the summer).

SHOULD EXTEND BUT WON'T AWARD: Alan Cumming's Macbeth - this show has sold out every venue it's been performed in, and I doubt Broadway will be any different. But I have a feeling this will maintain its very limited engagement status.

SHOULD CLOSE EARLY BUT DOESN'T AWARD: Breakfast at Tiffany's - Reviews were mediocre at best, with very few redeeming qualities. But I think Game of Thrones' Emilia Clark will save this show from an early closing notice.

SHOW EVERYONE FORGETS ABOUT AWARD: The Testament of Mary - Despite a starring role by Fiona Shaw, I have heard almost nothing about this scene and have a feeling it will exist very quietly on the Great White Way.

While I hope every show can be super successful, it just isn't a reality. Only time will tell if these predictions prove to be true. Do you have any predictions of your own? Comment below!

REVIEW: Second Stage's THE LAST FIVE YEARS

NOTE: THIS IS A REVIEW OF A PREVIEW PERFORMANCE. THINGS CAN CHANGE/TIGHTEN UP BEFORE THE SHOW OFFICIALLY OPENS

I had the privilege of getting to see Second Stage Theatre's new production of THE LAST FIVE YEARS on Wednesday night, and it was one of the best theatrical performances I've ever seen.

THE LAST FIVE YEARS is the story of Jamie and Cathy's five year relationship, only they tell the story one song at a time, moving in opposite directions, only singing together in the middle at their wedding.

This production, directed by the show's composer Jason Robert Brown, was perfectly cast with Adam Kantor (Rent, Next to Normal) and Betsy Wolfe (Mystery of Edwin Drood, 35mm).

L5Y is one of my favorite musicals, so I have the original cast recording (starring Norbert Leo Butz and Sherie Renee Scott) basically memorized, and was worried I'd be disappointed by this new production because of my love of the original. Boy was I wrong. I loved the different moments these actors found and the different choices that made it sound and feel like a different show.

What made this production great was the use of the sparse set and lighting, but using them at specific moments to help illustrate exactly what was going on. The set was almost entirely made up of a set of windows that moved up and down. Three of them had screens that served as setting in multiple numbers.

It was also interesting because Jason Robert Brown changed some lyrics and moments for this revival, which took me by surprise, but were very effective while minimal.

Wolfe and Kantor were both equally matched, both vocally and in acting ability. Both truthfully told Cathy and Jamie's story instead of just beautifully singing the song cycle. (There is almost no spoken text in the show). Highlights for me were Wolfe's "Summer in Ohio" and the Audition Sequence, and Kantor's "If I Didn't Believe in You."

I really hope that they record this production, because it is absolutely brilliant (it has already been extended twice before it has even officially opened). Check out this behind the scenes video!

REVIEW: HANDS ON A HARDBODY

NOTE: THIS IS A REVIEW OF A PREVIEW PERFORMANCE. THINGS CAN CHANGE/TIGHTEN UP BEFORE THE SHOW OFFICIALLY OPENS

There is a good musical somewhere in HANDS ON A HARDBODY, with music by Phish's Trey Anastasio and Amanda Green (Bring It On). The only problem is it isn't what's being performed right now at the Brooks Atkinson Theatre.

HANDS ON A HARDBODY, based on the 1997 documentary of the same name, is the story of ten strangers all competing to win a new truck, by keeping their hand on the truck longer than anyone else. Weaved within the competition, the audience learns about the lives and struggles of the ten contestants.

The music was actually a lot stronger than I expected, but what really brought the show down was the lyrics, which used cheap rhymes and didn't truly help move the story along. The lyrics took me out of the story because they seemed so out of place, especially for a Broadway musical. You can preview a song, "I'm Gone," on the show's website.

The story and book were alright, but the problem stood in the fact that it didn't make the audience truly care about the characters or who won the competition. When the winner was announced, I could have cared less because I didn't care about any of the characters. There were some strong moments, but they were too scattered.

The concept for the story was really strong, and it allowed for a lot of creativity, but the staging was very bland and didn't promote the story in the slightest. They tried to be creative and use the truck (the main set piece), but it ended up being clunky and cut off sight lines (and I was in the center of the orchestra).

The performances were also inconsistent. Keala Settle started off weak, but ultimately had the strongest performance in the end. Her song was by far the highlight of the show. Hunter Foster had a strong presence, but his character was too one-note until the end of the show. Allison Case and Jay Armstrong Johnson were stand outs for me performance-wise, as they were consistently strong the whole time, but the book didn't give them enough to work with.

I really wanted this show to be great because it is a great and unique concept. I think it has the makings of a great musical, but I doubt it will find it before opening night next week. If it had more time in development, or wasn't on Broadway, it could be great. It's just not the calibur that is expected of a new Broadway musical and I have a feeling it won't be around long (I hope I am proven wrong).

Idina Menzel to Star in NEXT TO NORMAL 2?

Big news broke this week that Idina Menzel would star in a new musical written by Tom Kitt & Brian Yorkey, NEXT TO NORMAL 2. Wait. That's wrong. The musical is call IF/THEN.

The show is described as:

"On the verge of turning 40, Elizabeth moves to New York City, the ultimate city of possibility, intent on a fresh start - new home, new friends, and hopes for a resurgent career. But even in her carefully planned new life, the smallest decision or most random occurrence will impact her world in ways she never dreamt possible. Set against the ever-shifting landscape of modern day Manhattan, If/Then is a romantic and original new musical about how choice and chance collide and how we learn to love the fallout."

The show will try to match the success of NEXT TO NORMAL, one of most successful original musicals in the last decade, by reuniting the writing duo with director Michael Greif and producer David Stone.

I, for one, am a HUGE Idina fan and n2n is one of my favorite musicals, so I am extremely excited to see this show. And a positive: the show is having a tryout in DC this fall before opening on Broadway in Spring 2014. That means I will definitely be sure to be seeing this as soon as it opens.

I am curious what the rest of the cast will look like, because I'm sure they will use the success of n2n to find all-stars like Menzel. I just hope that they didn't rush the show and that it is too much of a n2n copy. Only time will tell.

Here is a video of Menzel singing the one song known so far from the show: "Learn to Live Without"

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."