Catching Up

What hasn't happened since last we spoke?

Everyone's on strike, which is really throwing a wrench in the gears around here. Pretty soon we won't be seeing any new episodes of Grey's or 30 Rock, or worse, Gossip Girl. I don't think the writers are coming back to work anytime soon. And, the word on the street that the stagehands would come back tomorrow is definitely a false hope. They've cancelled just about everything all week already. That's going to put this strike at at least 17 days or so... not good for business. Good thing I saw those plays before they all went dark... my guess is that a lot of them won't even be returning. IS HE DEAD? has only played two previews (I saw the second) and hasn't really been publicized, so I doubt it's going to get any legs to come back. And the real winner of the season, AUGUST: OSAGE COUNTY, had great word of mouth, but is missing its opening night now and who the hell knows. I think if any of the shows will pull out of this okay, it's gonna be that one. FARNSWORTH's Hank Azaria is not going to sit around twiddling his thumbs (like one writer noted last week) waiting for the strikers to come to terms, and it's going to close that show.

Too bad for Broadway. Good for off-Broadway. Keeps me busy at work anyway.

Remember when life sucked? Well, I've been pretending that I'm happy, and things have been working out actually. I've met some interesting people, created laughter, had tea parties and made dinner in costume. After, I danced with tigers, took a rifle class, had lifeguard training and splashed in the puddles I created in my bathroom because the toilet was broken and so I just emptied a bucket of water on the ground. And then just now, I talked in a fun-Godfather-Italian-accent with coworkers.*

I'm coming home for Thanksgiving, spending some time on the couch, and then shipping out to the sunny skies of Florida for a couple of months. Wowza: you're excited I can tell. I look forward to seeing you and/or hearing from you. Write comments, show me the love...

*Some of the above mentioned events have been fabricated.

The Good the Bad... and well, i'm not ugly

There's some days that being in a big city is fun. Like today. The new mega-expensive musical, YOUNG FRANKENSTEIN is loading in currently. So, I walked by the loading dock this morning and saw lots of sets, costumes, etc. Woohoo, said I. Then, I had to let Bill Pullman into the building, and Judy Ivey came by to drop off some stuff, and Dallas Roberts walked out for a smoke break. Ah!

On the other hand, there's some things that aren't fun. Like this guy I work with. He just answered the phone "Yep, yep?" Are you serious? "Yep, yep." Oh for crying out loud. We all think he's going to kill himself, or someone near him. Which basically means I need to watch out for number one, or else I might be running around with my head cut off. Of course, the weirdo leaves this weekend to go back home to "figure some things out." Yeah, we've heard that one before. Go get a pickup and a dog and drive around or something, that usually seems to work, Bucko.

Two Happy Endings

Julie and the Beatles
ACROSS THE UNIVERSE has its moments, but in all, I guess I just didn't like it. Don't get me wrong, FRIDA is one of my favorites, but this one just doesn't have that same spark. Of course, it would have been better after a few magical brownies ("reefer madness, reefer madness!")... Some very touching scenes, neat colors and spectacle, but overall rather blah.

I Was Going to Go Anyway
...even if I didn't get a free pass. ENCHANTED, first of all, is narrated by none other than that glorious voice of voices, Ms Disney herself, Julie Andrews. Also a venerable who's who of Broadway (including Tonya Pinkins in a hysterical scene or two), this new flick from the Mouse is ... well, enchanting. Amy Adams is beautiful and does a brilliant job. I guess I just had a big smile on the whole time - sure, it's for the kids, but hey, I'm still a kid.

Graphic Subway Ride

Well, I thought I would talk about the last production in the City Center Encores! series which I saw last night, STAIRWAY TO PARADISE. I was going to write about how Ruthie Henshall (the only reason I wanted to see it) got shafted by getting only two songs two sing. Plus no one knew who the hell she was. How can you not know someone who has done so much, she doesn't even need to include the 10th anniversary LES MIZ concert in her bio?! Amazing.

I was going to say that although actress-turned-celebrity Kristin Chenoweth did too much and was just sticking to her usual antics that everyone so adores, she was very funny in her sketches and songs with clowns Kevin Chamberlin and Christopher Fitzgerald.

I was going to say all that. I was going to say I even enjoyed Jenn Gambatese.

But then I got on the subway to come home and I was leaning against the third door of the third car, just like I always do. And I was looking around at people, scoping out the general situation, just like I always do. And then I saw it. My stomach realized what was happening before my mind did. Mister Subway Stranger's (see yesterday's post) brother was holding his hand in front of his mouth. His eyes were wide and there was a look of panic behind them. As he moved swiftly to the door, waiting patiently for it to open, he was holding the vomit inside his mouth. Some of it escaped, though, and was dripping down his lips, over his chin and onto the floor of the car. TERROR! AWFUL! GROSS! SMELLY! YUCKY!

So, once I saw that, I couldn't write about the concert anymore. Tomorrow: blueberry muffins, or how I learned to eat something other than Timbits for breakfast.

Norma's Back at Last

Some days, a person just feels complete, you know? For me, it was today. And lately, I guess, in general. I think it's this city. There's something electric about it that I can't escape, and I don't think I really want to. It's so wonderful.

Today, Millie and I went to see the matinee of the Durang/Melnick musical ADRIFT IN MACAO at Primary Stages at 59E59. I saw the production back in its Philly tryout and enjoyed it. I think I enjoyed it a lot more there, even though here my seats were significantly better, and cheaper. Either way, it is still so fun, and Michelle Ragusa is a dynamo: there's no stopping her, and it's so exciting to see such a fabulous performer onstage.

Anyway, my point. I was reading the program, thinking "oh, Alan Campbell is in this." (He's the original Joe from SUNSET BLVD on Broadway.) Literally thirty seconds after I mentioned it to Millie, I turned to see who was walking up the aisle to sit in the pair of empty seats next to me, and it was none other than Glenn Close. GLENN CLOSE. Next to me. Immediately in the seat beside me. Her knee was touching mine.

Some backstory and facts:

1. the first CD I ever purchased was the American premiere recording of SUNSET starring Glenn Close and Alan Campbell. Today, I sat next to her and we both watched his performance.

2. As a kid, I loved the circus. In college, I got to play the lead in BARNUM which starred Glenn Close and Jim Dale. Today, I sat next to her.

3. A few weeks ago, I made banana bread for a Tony winner. Today, I sat next to one.

4. Years ago, I saw Betty Buckley perform a concert from the fourth row. She replaced Glenn Close in SUNSET.

5. Alan Campbell and Lauren Kennedy made their Broadway debuts in SUNSET. Now they're married.

6. Elaine Page was a replacement Norma in SUNSET. Now, she's a replacement Chaperone in London's DROWSY. I saw Page perform SWEENEY with the NYC Opera (in 2003?). I sat next to the original Norma today. I made banana bread for the original Chaperone a couple weeks ago.

7. AND, if I'm not mistaken, I saw STUDIO 60's Sarah Paulson at work yesterday. Those lips are unmistakable.

8. This is too much. New York is grand.

I'm So Glad I Came

ONE: I saw the Encores! production of FOLLIES Thursday night at City Center (apparently Steve and Hal were both in the house that night as well, albeit in closer seats than my second-to-last-row-humdinger). Brantley is spot on in his review. It was epic, magnificent, and gorgeous. Musically astounding, emotionally wretching, personally inspiring ... it didn't stop for the whole two-and-a-half-hours. And, throw in the dream team of Vicki Clark, Donna Murphy, and Casey Nicholaw, there's no turning back: we're in whole-hog, and happily rolling around in the mud.

It was something to it there and listen to these extraordinary voices sing these delicious songs and receive enormous amounts of applause. I was sure the entire show was going to stop a few times, notably after "In Buddy's Eyes," "Losing My Mind," "Could I Leave You?," and "The Story of Lucy and Jessie." No surprise here, those were the four solos by Ms Clark and Ms Murphy.

TWO: I met a certain actress last night, backstage at a certain broadway show and presented her with a certain baked good. It was brilliant. And she was just delightful, and beautiful, and so kind.

Skate Spectacle Skeptical

Late last month, a workshop of the new rollerskating tuner XANADU took place at the Minetta Lane Theatre and is currently sked'd to open in April at the Helen Hayes. Critics called the Olivia Newton-John film "the most dreadful, tasteless movie of all time," yet B'way execs think it can make it on the boards. Star Jane Krakowski decided last Friday, however, to pull out of the planned mounting to stick with the boob-tube laugher, 30 ROCK, for which she's obviously raking in a lot more green.

Sources were quoted in the POST saying "I don't see how they can do it without her. She's the show." It makes one wonder if the show that'll try to forgive STARLIGHT EXPRESS for ruining skates and stages will be able to get itself together for those harsh critics in that big apple sans Krakowski. We'll see. The book is being fixed by Douglas Carter Beane, currently rep'd on Bway with gay romp, THE LITTLE DOG LAUGHED. Auditions are happening now, and official rehearsals will most likely begin shortly, however, actors already associated with the project have been taking skating lessons into their own hands.

But, hell, wouldn't that be something? To have to turn down an above-the-title role in a new Bway smash (well, probable failure?) to do television? Sheesh. And I have yet to be able to turn down non-paying, way the hell off-off Broadway shows.

Let's Just Laugh to Ourselves

...so goes the line of dialogue in COMPANY, now playing at Broadway's Barrymore Theatre.

It's fine. It's a John Doyle show, and I had a really hard time with SWEENEY, and COMPANY too seems just out of place. These people interacting and living while carrying their instruments... musicians, don't freak out! I know you can speak and hold your trumpet at the same time, but you don't always carry your trumpet around with you, do you? Like, to a one-night-stand? Or your flute to a park?

Anyway, the best scenes were had when there were no annoying pieces of brass to get in the way. Angel Desai (as Marta) was far and away the greatest thing on that stage. Her "Another Hundred People" was full of intrigue, compassion, understanding, development, color, creativity, et al. She knew what she was singing about and made it very clear. And she was able to have fun doing it -- go figure!

Barbara Walsh did as fine a job as she could with Stritchy's tune, which, let's face it, no one is going to master in any way close to the best. At least she did something different and tried. Plus, wouldn't it be just great to drink like Joanne does? Goodness, that looked fun.

Mr Esparza did fine work as well. He has such a lovely character and quality to his voice, but it evoked, at least in my mind, so much TICK, TICK ... BOOM! that it was distracting. It's OK. I'll get over it. He deserves me getting over it. His "Marry Me a Little" was lovely, and after he got through that trying, stunted first half of "Being Alive," well... he sure sang it out, Louise.

Perhaps part of my dislike of the whole thing was the decision to not let the audience applaud -- not that we would have anyway, maybe, but still. Why couldn't we applaud for "Another Hundred People" or "The Ladies Who Lunch"? It's unfair to make us sit there without a release... maybe they should have served complimentary vodka stingers. Now that would have been a release.

And... does Fred Rose remind you of John Michael Higgins.










Also, Robert Cunningham looks (looks only) like a younger Joel Grey.

Equality Soapbox

Thanks to my DVR, I got to watch last night's episode of BROTHERS AND SISTERS tonight. I don't know why, but it struck me as a very positive episode. Positive for the country that we're living in, that apparently people are getting progressive and accepting. If a network television program (albeit in the 10 o'clock hour) can show two male characters kissing, I think we're moving forward. Probably this isn't news (I guess ELLEN did this years before, right? And I don't even know what other shows have done it... lo siento), but it struck me today.

I also saw Broadway's SPRING AWAKENING about a week ago, and it's similar. Men have been kissing (and more) on stages all over the place before, but now it's happening on Broadway, and it's grand. It's grand if only for the fact that it's equality, proof that W. isn't going to run this country into the ground.

We need to fight for equality, across the boards... race, creed, orientation, gender... we're all here and human and each should be guaranteed the rights that everyone else has. What a crazy thought that was years ago (Civil War, Women's Suffrage, Civil Rights...) and what's crazier is that today, it's still often a crazy thought. We need to respect people no matter their differences from us or others. We're all here together and we need to work together to save this planet and save ourselves from each other. If we don't start now, when will we?

So, wow. On my soapbox, and probably terribly confusing and unspecific and uncohesive and unorganized... but, you get my drift. Fight for equality, and recognize the steps that are being taken already. We just need to start jogging instead of walking.

Dreamgirls will make you happy?

I haven't sat down to read what everyone else is saying, because I wanted to form my own thoughts and opinions (I know! How terribly liberal of me). I finally made it to see DREAMGIRLS this afternoon with my sister, but before we were able to see the movie, we had to sit through about twenty minutes of nothingness, as the staff at the movie palace realized there was a problem and then had to correct it. My guess is something went awry with the tape and it had to be rewound or something -- do they do that in this day and age?

Anyhow. Jennifer Hudson is a yawn. She's an amateur way up there on the silver screen with the stunning Beyonce and the silent killer, Anika Noni Rose. This is supposed to be about this group of girls who are talented and rocket to stardom, right? Well, no wonder mister Curtis Taylor Junior fired her -- not only was she late all the time, but she didn't have the moves, the look, the voice, the style, the panache, or the raw skills to make it. And I can't understand how these award voters are being blinded.

The reason DREAMGIRLS was a smash on Broadway was because of the venue. This is a stage musical. It was written that way and should have stayed that way. It's the reason these big blockbuster musicals aren't transfering to the big screen -- because they're not meant to. We desperately want to applaud when Effie stands up to Curtis (and at my showing, one young girl did vehemently, to the annoyance of everyone around here), but it's not appropriate in a move theatre because ... and this is the big thing I realized today folks ... we're not applauding something that may have taken a dozen tries from several angles over a couple days to get right, and then fix and style in the editing room over months. When we want to applaud, we want to applaud the performance of a lifetime. Watch Jennifer Holliday sing the song (1982 Tony's or later in her career). It's breathtaking. There's nothing like it. Because it's real, it's live, it's in the moment. There's no one else there except her to share this very real and true moment with us the audience. On screen, there are a dozen to a hundred people neatly packaging the whole thing and sending it to us. That's not what broadway musicals are about.

CHICAGO made the transfer and did it brilliantly. RENT didn't. THE PRODUCERS didn't. Even SINGIN' IN THE RAIN didn't make the transfer to the stage. It was written as a Hollywood musical and should stay that way.

Anika Noni Rose was the best one up there, because she is from Broadway. She knew exactly what to do, how to play the role, sing the songs, act the act, and do it right. She was just so sweet and in the pocket, but unfortunately she's in the smallest of the roles.

[here: Original Lorrell, GREY'S ANATOMY's Loretta Devine] What would have helped the situation would have been the use of the 2001 concert cast (Lillias White as Effie, Audra McDonald as Deena and Heather Headley as Lorrell -- although, I'm still hardpressed to replace Rose with Headley). That cast also included Norm Lewis (Broadway's current Javier), Shoshana Bean (WICKED's Elphaba), Adriane Lenox (of DOUBT fame and a standby on CAROLINE, OR CHANGE where she worked with Rose), Brian Stokes Mitchell, Malcolm Gets, Alice Ripley, Emily Skinner, Brad Oscar and Sara Ramierz. Although, still, I think they work best in the recording and on the stage rather than if they had been shipped off to Hollywood and stuck up on film.

And, the cinematography. CRAPOLA. It looked like some failing frosh film fudgebucket finangled his way behind the camera somehow. It's awkward and strange, a poor turn from the guy who was the director of photography on FREE WILLY 3. The choreography (Fatima Robinson) is flat and lousy, too. Thank goodness they were wise enough to bring in tried-and-true team of Jules Fisher and Peggy Eisenhower to do the lighting. At least they knew what they were doing.

It's too bad about all of that, but that's the way it is. Go see it though, the music's kick-ass. And then you'll know what's what when the mount a national tour in the next year or so [my gut tells me they've just got to!].

Rita Moreno: b'day series

Beedow's Birthdays in History: A New Series... for when I don't have other things to write about slash time to write it in.

Today we featured Rita Moreno, born December 11 1931. She was on Broadway at age thirteen in the short-lived play SKYDRIFT (seven whole performances at the Belasco--which recently hosted the terrific revival of Odet's AWAKE AND SING!), which also starred Eli Wallach. She earned great recognition at age thirty for her role in the movie-fied WEST SIDE STORY as ingenue Maria.

What's the coolest thing about Rita? Well, she has an Oscar, Tony, Jefferson, Grammy, Emmy and a star on the Hollywood Walk of Fame. Only eight other people, and no other Hispanics, have rec'd the Big Four awards. But some will remember her best for yelling "Hey you guys" on PBS back in the 80s.

YouTube Finds

I've recently become addicted to this fabulous website, TIME magazine's invention of the year. And, from time to time, I think it will be my duty to share with you some fantastic finds. Today, two Broadway clips, both act one finales.

First, an eight-and-a-half minute segment from the 1982 TONY Awards. Jennifer Holliday performs "And I Am Telling You (I'm Not Going)" from DREAMGIRLS. It is fantastic--she's the only person who should ever sing this song I believe. Except JJ who supposedly does a mean karaoke rendition.

Second, a clip from the infamous Broadway flop, CARRIE. I was going to link to "And Eve Was Weak," which I saw the other day online and LOVED, but now it's gone, as is the downfall of YouTube. I wish they offered a pay service (or free!) that would let us download the clips. Maybe soon. But, here is Betty Buckley and Linzi Hateley, "I Remember How Those Boys Could Dance."