Everything I Know I Learned From Musicals

Rock of Ages: A Guilty Pleasure

I had a free show slot over the weekend, and I was considering getting a discount ticket to see Mamma Mia. Yeah, I know. But the Winter Garden is now the only Broadway theater that I've never been in, since I crossed the Broadway Theatre off my list by seeing Shrek on Saturday night. (Look for my review sometime soon). I thought it might be cool to make the weekend a bit of a milestone, but my cooler head prevailed, and I decided instead to get a ticket to see the new Off-Broadway tuner Rock of Ages.

On Sunday afternoon, I approached the New World Stages with a sense of dread and a set of earplugs. I'm reeeeeeally not the headbanger type. But the pre-show music quickly got me into the mood by featuring songs that I didn't even remember I knew, including those from Loverboy, Pat Benatar, Foreigner, and Journey. I had expected to see a bunch of headbangers in attendance, but instead found myself surrounded by outwardly respectable people of my own age or slightly greater, as well as the occasional gaggle of Jersey Hoodsies.

The plot of Rock of Ages involves a struggling rocker (Constantine Maroulis) and the actress wannabe he falls for (Kelli Barrett), both of whom work at the local rock club. There's also this evil real estate developer who wants to raze the club in an effort to gentrify and commoditize downtown Los Angeles. Yeah, it's one big cliche, but the show and everyone involved know this, and gently poke fun at both themselves and the paper-thin plot. Director Kristen Hanggi and librettist Chris D'Arienzo include numerous funny, campy touches, and treat the subject matter with the amount of gravity it deserves. Which is to say, none.

The score features popular hits from the 1980s. The Playbill for Rock of Ages doesn't list the actual songs from the show, allowing audience members to revel in the Mamma Mia surprise factor: "Oh, my God! I remember that song!" And the songs, often in the form of interesting contrapuntal arrangements, actually seem to fit the plot, for the most part. What we have here is a genuine "jukebox" musical, in that it draws from all the songs that would actually have been on a jukebox in the '80s, not just those of one band or artist.

In addition to having a keen sense of humor about itself, the show's other key asset is its engaging cast. This was my first time seeing Constantine Maroulis live, and I must admit I was pleasantly surprised at how comfortable and appealing he was on stage. Maroulis eschewed vocal histrionics in favor of an amiable and quirky performance. Also central to the show's appeal are Mitchell Jarvis as Lonny, the frenetic and salacious narrator, and the delightful Lauren Molina as activist Regina McKay. Will Swenson normally plays shallow rocker Stacee Jaxx, but Swenson was out for this performance, which was really a shame, because stand-in Jeremy Woodard didn't have half of Swenson's stage presence or charisma. (I'm hoping that Swenson will reprise the role of Berger in the upcoming Broadway transfer of Hair, especially now that Jonathan Groff is unlikely to return as Claude.)

Although I genuinely enjoyed Rock of Ages, the show could have used a bit of trimming. As is, it's about 20 minutes longer than it really needs to be. But it's an infectious good time of a show, and in its own way, remarkably innocent and...wholesome? Don't go expecting keen sociological commentary or sharp satirical inisghts. To quote one song from the show, we're talking "Nothing But a Good Time."

Young Frankenstein to Close in January

It's Alive!?

Yeah, well, not for much longer.

You can add the woefully disappointing Young Frankenstein to the ever-growing list of shows that will shutter in January. Although Mel Brooks and his fellow producers have famously refused to make their numbers public, the show will have played only 484 regular performances, and with an estimated capitalization somewhere in the $20 million neighborhood, that probably means the the show will close at a considerable loss.

Tee hee.

I've made no mystery of my unmitigated disdain for this show. See my review of the cynical and uninspired show itself, as well as my prior and subsequent screeds decrying the sheer arrogance of the production team.

The hangar-like Hilton Theater is unlikely to remain vacant for long, as rumor has long held the the upcoming Spider-Man tuner was hoping to spin its Web within its cavernous hall sometime during the 2009-2010 season. The Spidey musical will reportedly feature direction and design by Tony winner Julie Taymor as well as a score by frickin' Bono and The Edge of U2 fame.

Yeah, another pre-sold, brand-name, would-be blockbuster aborning. But at least we know the score will rock, and the design will be nonpareil. And pre-sold blockbusters aren't necessarily a disaster in the making. Look for my review of the slightly flawed but pleasantly entertaining Shrek later in the week.

Road Show: Warmed-Over Sondheim

It's been a long time since we saw anything new from Stephen Sondheim. His last original show in New York was Passion in 1994, and what a dreary affair that was. Unconvincing drama presented in a cold, dour package. Since then, Sondheim fans have had to make do with revivals and retreads, from John Doyle's visceral treatment of Sweeney Todd to Susan Stroman's inert re-imagining of The Frogs.

So many of us Sondheim aficionados were excited to hear that the Public Theater would be presenting Road Show, although the property itself is not exactly new. The show began as an idea Sondheim had in the fifties to set the story of the brothers Addison and Wilson Mizner to music. He returned to the idea about a decade ago, and the show has been announced and presented under various titles, including Wise Guys, Gold, and Bounce.

By all accounts, the show hasn't really worked in any of its prior manifestations, and unfortunately the current production is no exception. Sondheim has retained the tune from the title number of Bounce and repurposed it for the opening and closing numbers of Road Show, which is but one indication that the essential nature of the show hasn't changed.

There's no question that Sondheim remains a composer and lyricist par excellence. The score to Road Show offers up a surfeit of clever Sondheimian rhymes and jaunty melodies. But there are far too many musical phrases that echo Assassins, The Frogs, Sunday in the Park With George, and Into the Woods, which only serves as an unfortunate reminder that what we have here is flavorless, warmed-up, leftover Sondheim.

Because the problem here isn't that Sondheim has lost his genius for incisive lyrics or evocative music. But he does seem to have lost touch with his talent for identifying compelling yet offbeat topics to musicalize. I kept waiting for the characters to become interesting, for their story to become moving, but it never did. The show features numerous ambitious, extended sequences, musical numbers with diverting business and dramatic import. But not once did I forget that I was watching a musical that seemed to be struggling to convince me how compelling these people were, without ever figuring out how.

The story of the Mizner brothers must have seemed fascinating on paper, an opportune set of filters through which to view a number of historic events, including the Yukon Gold Rush and the Florida real estate boom. But the characters themselves, at least as portrayed by librettist John Weidman, aren't engaging enough to carry the show, especially Addison Mizner, gamely and often movingly portrayed by Alexander Gemignani. And Wilson Mizner, played with maniacal but unconvincing intensity by the otherwise talented Michael Cerveris, is shrill, unsympathetic, and irritating. We don't really see why his mother and so many others are so captivated by this shallow snake-oil salesman. The mother character even sings "Isn't He Something?," with Alma Cuervo giving a stirring rendition of a truly dull song.

On the whole, Road Show is professionally executed but poorly conceived, a noble and fascinating failure. I kept thinking about Merrily We Roll Along, another Sondheim musical that won't seem to die, despite numerous unsuccessful attempts. There's talk of the Roundabout bringing Merrily back for its next season, and I'll certainly see it, although I have little conviction that it will meet with artistic success. With respect to both of these projects, my hope is that Sondheim will focus on projects more worthy of his prodigious talents.

In other words, Steve, move on.

Feel the Chill: 13 to Close, Spamalot to Close Earlier

There's a chilling dual trend on Broadway right now. Shows are certainly closing left and right: 13 is just the latest unfortunate victim of the fallout. This entertaining little show will play its final performance January 4th, having amassed a mere 105 performances and 22 previews. (See my reviews of the Goodspeed tryout and the Broadway production.)

But we're also seeing numerous shows shuttering even earlier than they had originally announced. It started with the wonderful Xanadu, which closed two weeks earlier than originally announced. Then came the all-too-welcome early departure of A Tale of Two Cities, which cut another week off its already abbreviated run.

Now comes news that Spamalot, which had previously announced that it would close January 18th, will now go dark a week earlier, on January 11th. The show will have played a respectable 1574 performances over its four-year run, and raked in more than $175 million in the process, but it just goes to show that even shows that used to be rock-solid hits are feeling the economic pinch.

I'm in New York City this weekend, taking in what few shows seem to be left this season. Look for my reviews of Road Show, Shrek, Rock of Ages, and the City Center concert presentation of On the Town later in the week.

Christine Ebersole: Misinformed or Off Her Chump?

As if the meltdown in the economy weren't distressing enough, did I have to see one of my few remaining idols reveal herself to be (potentially and allegedly) just about as nutty as Little Edie herself? Or, if not nutty, harboring some views that put her at significant odds with many of her most ardent fans?

In a recent interview with Bloomberg.com, two-time Tony winner Christine Ebersole shared some views that seem to indicate that, although her talent is irreproachable, her views on the state of the world border on reprehensible. First off, Ebersole, according to Adam Feldman at Time Out New York, is "a registered republican who favors Ron Paul." Her reason: "everyone else is owned by the bankers."

Whah? Well, to understand what Ebersole means by that reference, take a look at the following interchange between her and Bloomberg writer Philip Boroff:

Boroff: Are you concerned about opening in a new show (Blithe Spirit) in this economy?

Ebersole: I've thought about that. We haven't seen the end of the story. It's unfolding minute by minute.

Boroff: What is the story?

Ebersole: You have to look at the agenda of 9/11 to see what's happening economically. You also have to go back to 1913, when the Federal Reserve was formed. To me it's a systematic collapsing of the economy in order to usher in the amero.

Boroff: The who?

Ebersole: That's the new currency. It's going to be introduced and we'll join with Mexico and Canada. We are moving to a one-world government. It's not some crazy conspiracy theory.

Boroff: Have you ever feared sharing your views would harm your career?

Ebersole: I've been told this will destroy me. This is my duty as an American citizen and a child of God, to speak truth to power. 

If you're not familiar with "the amero," it's basically part of a paranoid conspiracy theory (Sorry, Christine) that the U.S. is about to lose its independence, join up with Mexico and Canada to form the NAU (North American Union) and establish a common currency, to wit "the amero." You might, say, well that sounds harmless enough. The trouble is, this collective delusion is often associated with white supremacists. And Ebersole's reference to "bankers" owning politicians comes dangerously close to anti-Semitic speech. Time Out's Feldman explains:

To anyone familiar with the history of anti-Semitism, these quotes set alarm bells ringing furiously. Although Ebersole insists that her take on 9/11 and the amero is "not some crazy conspiracy theory," many of its most prominent proponents come from the darkest abysses of the Jew-hating radical fringe...Not so many degrees of ideology separate Ebersole from this ugly crowd. But this does not mean that she is an anti-Semite. It seems likely, in fact, that she is merely very gullible.

I find this profoundly disturbing and deeply disappointing, and I find myself wishing that the whole thing will turn out to be some terrible misunderstanding. But if it's true...oh sweet mother of Maude Adams, if it's true... Well, let's just say that Ebersole's next role after Blithe Spirit may as well be Letitia Primrose in On the 20th Century. ("It's a lie, it's a lie, she's as sane as you or I...")

Gypsy Revival to Close in March

Apparently, the producers of the current Broadway revival of Gypsy have given up the notion of trying to replace the incomparable Patti LuPone. The Tony-winning production will close in March 2009, at the end of LuPone's current contract.

When it closes, the show will have played 388 performances and 27 previews. This places it second-to-last in comparasion to the runs of other Gypsy productions. The original production of Gypsy ran 702 performances, the 1974 Angela Lansbury revival 120 perfromances, the 1989 Tyne Daly revival 476 performances, and the 2003 Bernadette Peters version 451 performances.

The show's weekly grosses have fallen from about $900,000 in June to a respectable, and likely still profitable, $600,000 in recent weeks. So here's one closing notice that seems less likely to be about the contracting economy and more about the inability to replace a tired star who wants to move on. My sources tell me that the producers were indeed putting feelers out at one point to find a suitable replacement, but apparently they eventually decided that this production is really all about Patti.

Just as a speculative exercise, dear reader, who do you think could have replaced Patti? If you had your druthers, and there were no impediments, such as competing schedules (Bette Midler), or stage fright (Barbra Streisand) or the fact that the star might just be too big for Broadway (Meryl Streep), whom would you really love to see play Mama Rose on Broadway?

The Story of My Life Headed for Broadway

In the middle of my recent Rocky Horror weekend at the Boston Conservatory, I made an afternoon trip down to Chester, CT to catch one of the final pre-Broadway performances of The Story of My Life at the Goodspeed's Norma Terris Theater. It was a bit of a hike, and I wasn't entirely sure my jalopy of a car would survive the four and a half hours of driving, but she held together, and I was really glad I made the trip.

This was my first exposure to the writing team of Neil Bartram (music and lyrics) and Brian Hill (book), but I'm predicting really great things for them. It's just that I have serious doubts that The Story of My Life will survive on Broadway, although I was greatly impressed by the strength of the score, as well as the two performers, Malcolm Gets and Will Chase.

The show is essentially about the intertwining lives of two childhood friends as they grow and make their way in the world. The story starts with Tom Weaver (Chase), a bestselling author, arriving to speak at the funeral of his friend Alvin Kelby (Gets). Tom's difficulty in writing the eulogy sets the stage for a series of flashbacks illuminating their long and complicated relationship.

The story itself is clichéd beyond belief, focusing on the emptiness of success and the people you leave behind. Brian Hill's book suffers from an over-reliance on a series of banal cultural signposts, including the butterfly effect, the movie "It's a Wonderful Life," the novel The Adventures of Tom Sawyer, and making angels in the snow. (See the show's original logo, left) But the score is rich and literate, one of the best I've heard in years, with melodic yet challenging music, and solid, erudite lyrics.

Overall, I was left with the sense that these were two really promising collaborators who were focusing their admittedly strong craft on some highly unoriginal ideas. Yet, somehow, the show transcends the bromides to evince genuine inspiration. No doubt the strength of to the two performers assist in this transformation, not to mention the strong directorial hand of Broadway veteran Richard Maltby, Jr.

According to Playbill.com, the show's producers are still actively planning to bring The Story of My Life to Broadway in the spring. A casting notice recently surfaced seeking understudies for the show's two roles. Although I'm definitely looking forward to the future work of Neil Bartram and Brian Hill, I predict that New York audiences and critics will tear this earnest but sweet show apart. I also can't see it capturing a significant audience in this economic environment. But I do see it catching on with theater queens and community groups much in the same way that The Last Five Years has developed a strong regional following.

Vanities to Play the Lyceum

I'm kind of surprised at this, but the Broadway-bound musical Vanities remains on track for a New York run. The show just booked the gorgeous and historic Lyceum Theater, recently (sniff sniff) vacated by [title of show]. Vanities will begin previews on February 2nd toward a February 26th opening. So I guess if [title of show] does make it make to Broadway later this season (see my post below), it will have to find another theater.

The reason I'm surprised is that Vanities is a small musical (the cast numbers a mere three) at a time when smaller musicals are having a hard time staying afloat. (cf. [title of show], Xanadu, Spring Awakening, Glory Days, A Catered Affair, Passing Strange, and the still-open but struggling 13.) Plus, there's the whole, you know, tanking economy thing. But apparently the producers were pleased enough with the show's recent run at the Pasadena Playhouse that they feel confident bucking those trends.

Vanities will feature the Broadway directorial debut of two-time Tony winner Judith Ivey, a performer whom I simply adore. Now, great actors don't always make great directors, but they don't necessarily make bad ones either. Up-and-coming choreographer Dan Knechtges will provide the musical staging. And the cast comprises the very talented trio of Lauren Kennedy, Sarah Stiles, and Anneliese Van Der Pol. So I'll definitely be getting a ticket to one of the preview performances, and I certainly hope that the show will prove my suspicions unfounded.

California's Proposition 8 Hits Home

There's been a lot of blog chatter about California's odious Proposition 8, which rescinded the right for gays and lesbians to marry in that state. I haven't really posted anything about it, although I was greatly saddened by what transpired. But now the kerfuffle has entered the realm of musical theater, and I feel it would be perfectly appropriate for my blog to address this travesty.

Playbill.com reports that the artistic director of the California Music Theatre, one Scott Eckern, a Mormon, and graduate of Brigham Young University, contributed $1,000 in support of amending the California state constitution to specifically ban gays and lesbians from marrying. Such Broadway luminaries as composer Marc Shaiman, librettist Jeff Whitty, and actress Susan Egan have publicly denounced Eckern's move.

In response, Eckern issued the following apology:

"I understand that my choice of supporting Proposition 8 has been the cause of many hurt feelings maybe even betrayal. It was not my intent. I honestly had no idea that this would be the reaction. I chose to act upon my belief that the traditional definition of marriage should be preserved. I support each individual to have rights and access and I understood that in California domestic partnerships come with the same rights that come with marriage," Eckern said in a statement.

He continued, "I definitely do not support any message or treatment of others that is hateful or instills fear…I am deeply sorry for any harm or injury I have caused."

In other words, he's only sorry that he got caught. Based on the portions that I've underlined above, it seems that he still supports the ban, and still believes that marriage should only be between a man and a woman. He says that he supports domestic partnerships, but that's just "Separate But Equal" speak. To Eckern's credit, he has made a $1,000 donation to the Human Rights Campaign, but it's really seeming as thought he only did this to help quell the PR nightmare.

Sorry, Scott. Apology not accepted.

UPDATE: According to The Sacramento Bee, Scott Eckern has resigned from his position as head of the California Music Theater, after 25 years with the organization. While it saddens me that the CMT would lose someone who's been part of its inner workings for so long, it also puzzles me how someone who has worked for so long in a industry that has SOOOOOOO many gay people would say that he "honestly had no idea" that his contribution would create such a furor. Really, Scott? No idea? None whatsoever? That's either completely disingenuous or pretty frickin' clueless.

A Tale of Two Cities Will Close Even Sooner

Earlier this week, the producers of A Tale of Two Cities announced that the show would be closing November 16th. Now, today, comes news that the show will close a week earlier than that, this Sunday, November 9th. This will reduce the number of regular performances for the show to 60.

Apparently, there was no last-minute rush for tickets to the show, which has seen its weekly capacity drop from around 75% when it began previews to less than 50%. Yeah, lousy word of mouth will do that. 'Cause the producers can try to spin it all they want, but what really killed this show is that it just plain sucked, and the news got around pretty fast, even before the show got roundly panned by the critics.

It often amazes me when shows get to Broadway that have absolutely no business there. Is it really that hard for the people involved to see when a show simply isn't working? Are they that blinded by the distant prospect of fame and monetary success?

Well, the double-edged sword of the downturn in the economy will probably make it less likely for such unworthy experiments to tread the Broadway boards, but sadly it will also prevent many of the worthy ones as well. I fully expect attrition among the list of incoming musicals for this season. I hear pretty good things about 9 to 5, and it has a built-in audience, so it should make it to New York all right, but I have serious doubts about some of the lesser-known properties, including Pure Country, Vanities, Nerds the Musical, Angels, and The Story of My Life. Look for my review of the last of these sometime early next week.

Will [title of show] Return?

As some of you know, in addition to blogging about musical theater and teaching it at the Boston Conservatory, I'm also a freelance writer and editor. Recently, I received my first assignment from The Advocate, the national news magazine for the LGBT community. The assignment was to find and profile gays and lesbians who had been significantly affected by the recent economic downturn.

As I was thinking about whom I could profile, I had a sudden inspiration. What about the [title of show] guys? Although there are various opinions on why the show [sniff sniff] closed, there seems little question that the struggling economy had something to do with it. So I gave Hunter Bell a shout, and he graciously agreed to participate in the article.

Alas, as I know all too well from my many years of journalism, all the stuff you hope to include in an article doesn't always make it into print. Although I was assigned to write three profiles, I actually wrote five, and The Advocate wound up using four of them. (The article posted to The Advocate's Web site today, and and hits the newsstands November 18th.) Hunter unfortunately got cut, not because the story wasn't compelling, but rather because we were going for a diverse mix of people, and we already had a story from someone in New York.

So, the folks at The Advocate have graciously allowed me to run Hunter's profile here on my blog. And here it is:

Recessionary Tremors: Hunter Bell

Hunter Bell is convinced that, were it not for the economic downturn, his show would still be on Broadway. And he means to bring it back 

On October 12th, 2008, Hunter Bell was starring in his own Broadway musical. On October 17th, he filed for unemployment.

Before it opened on Broadway in August, the musical [title of show] was a bit of an Off-Broadway phenomenon. The show’s plot relates how Bell and his writing partner Jeff Bowen, two self-proclaimed “nobodies in New York,” put together the plucky little musical. The pair helped fan the flames of fandom by producing a series of online video episodes, which helped the show develop a vociferous cult following, and eventually led to the Broadway run.

Unfortunately, the show only ran about three months, limping along at about 30% capacity at Broadway’s historic Lyceum Theater. Catty insiders blamed the show’s demise on its insular focus: much of the show’s considerable humor derives from its barrage of obscure theater-related references. But [title of show] librettist Hunter Bell thinks the show could have crossed over to attract a more mainstream audience, had it not been for the current economic uncertainty.

“We knew it was going to be a struggle,” says Bell. “We had an original story at a time when most Broadway musicals are based on established brands, like Shrek or 9 to 5. And when you introduce something new, it takes time for it to catch on.”

Bell says the show’s success was hampered by an economic double whammy. First, audiences currently have less expendable income, and are thus less likely to take a chance on an unknown show. “And I understand that totally,” he says “People are being a lot more careful with their money, and maybe see theater as a luxury.”

Second, investors have less available capital to keep the show open long enough to build awareness as well as a healthy advance ticket sale. “We had some really smart, awesome producers,” says Bell. “But it takes a lot of money to keep a show running.” And the folks who have that kind of money tend to be disproportionately sensitive to Wall Street fluctuations. “It’s not that people don’t believe in you,” says Bell. “It’s just that these are tricky times.”

For Bell personally, the show’s fortunes, or lack thereof, have presented an economic challenge. “I tried to put a little away from the run,” he says. “But a lot of that money we used to pay off the debts that we had created over the past four years trying to put the show together.” So for Bell and Bowen, it’s back to temping and the occasional catering job. “We’ll have to take odd jobs here and there,” says Bell, “But we’re really hoping that doing the show will open doors for us creatively. The hope is that we can eventually make a living as working artists.”

As for future earnings prospects, Bell says he and Bowen are working with the Rodgers and Hammerstein organization on licensing the show for regional and amateur productions. “And that will be a great for generating income in the future,” he says. Bell and Bowen are working on different versions of the show, depending on whether theater groups want to personalize the show. “The idea is to have the original version if you want to play Hunter and Jeff, but we’re also working on a sort of Mad Lib version, kind of a [title of show] template where you can fill in the blanks and make it your own,” he says. “I think we can find a way to do that and not compromise the show, to keep its integrity but still let people make it their own.”

But the show’s licensing future depends on what’s next for [title of show] in what Bell calls the “first-class arena.” Bell says that he and his show partners are actually planning to bring [title of show] back to Broadway once the economic turmoil abates. “Our true goal is to be back in the spring around awards season,” he says. “People are more focused on the theater then, and we want to be a part of that conversation.”

There’s not a question in Bell’s mind that he and his beloved show are the victims of circumstances beyond their control. “Had there not been an economic scare,” he says, “I believe that [title of show] would still be around, able to weather the storm.” – Christopher Caggiano

Hair to Play the Hirschfeld

The producers of the upcoming Broadway revival of Hair didn't waste any time snatching up the highly desirable Al Hirschfeld. The theater's current tenant, the execrable A Tale of Two Cities, recently announced that it would be closing November 16th, making room for a far, far better production.

Diane Paulus's dynamic staging of the Public Theater's hit summer production will begin previews in February toward a March opening. Paulus will presumably take some time off from her new role as artistic director of Boston's own...er..Cambridge's own American Repertory Theater. (They're very touchy about that sort of thing, those Cantabrigians.)

As I said in my review of the Central Park run, this production forced me to reevaluate the place of Hair in the musical theater canon. Previously, I dismissed it as a novelty hit, a product of a specific time and place, but now I've come to see the show as having a more universal message. Of course, Central Park is really the ideal place for the show, for a variety of reasons, both thematic and conceptual. But that's obviously not a tenable long-term option, particularly in the coming winter months.

No word yet on casting, but it would be great to see Jonathan Groff and Will Swenson reprise their central roles as Claude and Berger, respectively. Both were simply sensational. There were many talented people in the cast, but Groff and Swenson were real standouts. (Did anyone out there see Groff's replacement, Christopher Hanke, as Claude?)

Some have questioned whether people will be willing to pay for something they could have seen free of charge over the summer. I find that attitude a bit parochial. Some of us don't live in New York City, folks, and the prospect of making a special trip just to wait in line for hours and then maybe not even get a ticket made seeing this show in the Park rather unattractive to many out-of-towners. The real question is whether the frenzy to see the show will hold over from many months before, especially now that the economy has since cooled quite considerably.

All I know is I greatly look forward to seeing Hair again, partly to see how they've made the out-to-indoor transition, but also to re-experience the sheer power of the show and the talent of the people involved.

Billy Elliot: Stagecraft Trumps Content

My reaction to the London production of Billy Elliot was one of unmitigated disdain (read my review), but since the show has become such a gargantuan, international hit, I figured I owed it to my readers and my students to give the show a second chance when it came to New York. Well, let's just say that, although I've removed Billy Elliot from my list of The Musicals That Suck, I won't be putting it on my list of The 100 Best Musicals of All Time any time soon. The show remains considerably flawed, but somehow I found myself more receptive to its admitted charms on this side of the pond.

The show's key liability is Elton John's thoroughly unremarkable score. There's not one memorable tune in the bunch, although Peter Darling's lively staging does set quite a few of these forgettable numbers in entertaining relief, particularly "Shine" and "Express Yourself." And although the basic plot of the show is moving, the actual words of Lee Hall's libretto are banal, and the humor sophomoric, consisting of hitting people in the crotch or calling someone a "wanker."

Again, Peter Darling's staging is dynamic, but its meaning is sometimes inscrutable. For example, the "Solidarity" number features the elaborate inter-mingling of cops, strikers, and ballet dancers, which makes for quite a sight, but what exactly is it supposed to mean? I still can't quite figure it out. Another number that left me scratching my head was "Born to Boogie," a song that is every bit as bad as its title, illuminating nothing about the characters or the situation, and featuring staging that helps very little in this regard. 

But paired with the clumsy storytelling and enigmatic staging are moments of simple poignancy, including Billy's letter from his deceased mother. Despite the number's quotidian lyrics ("Always be yourself..." Yeesh.), the honest emotion of the moment makes for compelling drama. Much of what's good about this show can be summed up in one exchange between Billy and his dance teacher, played splendidly by Olivier Award winner Hadyn Gwynne. "She must have been a very special woman," she says, after reading Billy's letter. "No," Billy replies. "She was just me mum."

The end of act I remains a powerful moment in the show, with Billy expressing his frustration and disappointment in the form of an energetic explosion of tap. But the number would have been more effective with a Billy who could handle the gravitas. Kiril Kulish, who played Billy at the performance I saw, is one hell of a dancer, and handles the lighter sections of the show with aplomb, but but when it came to expressing Billy's pre-teen angst, all Kulish could do was yell "Ah!" rather unconvincingly. Kulish was more in his element during the Act 2 pas de deux between the younger Billy and his older self. It's a compelling device, but for some reason the number features Billy flying through the air on a wire like Peter Pan. Um, why? The audience really eats it up, but is there some dramatic reason for it? Maybe the creators are going after something pedestrian like "Billy's soul is taking flight..." [Shudder.] 

But again, overall, I was far more receptive to the New York Billy Elliot than to its London cousin. Perhaps the cast of Broadway pros made the show work better stateside. The lovely Carole Shelley brings great humor and depth to the grandmother character, and Gregory Jbara is quite affecting as Billy's dad. I was excited when I heard that Joel Hatch, who was sensational as the lead character in Adding Machine, would play a supporting role in Billy Elliot, but unfortunately Hatch is wasted here with a cardboard character, that of the boxing coach. 

So, Billy Elliot is affecting and entertaining. But is it good? Not really. Again, the score is undistinguished, the book cliched, and the humor forced. But somehow director Stephen Daldry has crafted a show that transcends its uninspired components to become something slick and entertaining. As I sat in the Imperial watching Billy Elliot, I was continually reminded of Jersey Boys. Because what we have in Billy Elliot is yet another triumph of stagecraft over content.

Yes We Did!

A Tale of Two Cities Will Close November 16th

The critically lambasted "new" musical A Tale of Two Cities will end its Broadway run on November 16th. The show will have played 68 regular performances, which is about 67 more than it deserved. As I said in my review, the show had very little going for it except a game and talented cast.

The producers blame the current economic crisis for the show's early shuttering, and plan to regroup for an upcoming national tour. That tour may indeed materialize: we've certainly seen other shows bomb on Broadway only to try to recoup some of their investment on the road. (Little Women and Brooklyn come to mind.) I find it highly unlikely that A Tale of Two Cities will ever make back its $16 million investment, even when the regional and amateur rights become available. I just don't see it catching on.

The thing that really killed A Tale of Two Cities was the horrific word of mouth that dogged the show from its first preview. Sometimes shows fail to catch on because enthusiasm for them fails to extend beyond their ardent fan bases: [title of show] and Xanadu, for instance. But other times, the word on the street becomes so toxic that the only people who wind up seeing the show are musical-theater die-hards like me and the uninformed general public who happen to see the show listed at TKTS.

Sometimes I wish that the producers of a failed show would simply admit that it just plain sucked. Producer David Merrick once came close to this when he famously closed Breakfast at Tiffany's during previews to spare the theater-going public "an excruciatingly boring evening." The producers of A Tale of Two Cities could almost quote Merrick verbatim: although I saw a matinee performance of the show, I can personally attest that it was both boring and excruciating.

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And finally

Here's the girl who made relentless fun of me during the show, the lovely and talented Arielle Boutin. We had audience plants doing the Rocky callbacks. Every night, Arielle would say at one point in the show, "Shouldn't you be blogging right now?" and I would break character and say, "Blog this, bitch."

Thanks, Arielle.

 

OK, so I lied...

Here are the Rocky directors: Marissa Miller and Mike Heslin

Last Rocky Photo, I Swear...

The eponymous Rocky: Nathan Hancock.

Still More Rocky Shots

The Big Guy Himself: Mackenzie Miller as Frank N. Furter.