05/26/04
We're closing the polls on Thursday at 5pm, with winners announced on Friday. So cast your vote and be heard!
THE BOY FROM ROW C
For once, it wasn't Hugh Jackman who stopped the show over at the Imperial Theatre--it was me. After a frustrating 15-minute wait at the box office where my Tony voter tickets for The Boy from Oz couldn't be located, I scurried down the aisle with my filmmaker friend Lisa Collins about 10 minutes into the show, trying to get to our seats as inconspicuously as possible. Then I noticed the bright spotlight on us.
"So you decided to join us," Jackman said, staring us down from the stage. "Don't mind me. We're just doing a little show here." Uh-oh. We were the night's "late theatergoer" victims! As the star waited for us to get settled before going on with the show, he asked for our names and begged to know why exactly we couldn't get ourselves to the show on time, tauntingly adding, "You missed the number where I was naked!"
Since my last part in a Broadway show was back in 1995 when David Shiner, ignoring protest, yanked me onstage for Fool Moon at the Ambassador, I decided to make the most of the moment. "I'm a Tony voter," I revealed as Jackman's eyes got wide. "But the box office couldn't find my tickets."
"Tony voter?!" Jackman gasped, as if he really has to worry about the happiness of one lowly voter! He offered a brief synopsis of the first two numbers of the show and looked for some sort of door prize for our troubles. "Have we got anything we can give him from backstage," he yelled into the wings. "Are you comfortable? If you'd like, you guys can lay down," he said, gesturing to the two empty seats next to us.
Finally the spotlight was off us and focus was back onstage on the man with the talent. Jackman and the talented Oz company performed "Love Crazy," the energetic television studio number that finds the star shimmying and shaking all over the stage to Joey McKneely's groovy choreography.
As the audience cheered for the number, Jackman came back to the lip of the stage and looked us in the eye. "Paul and Lisa, are you following?" More like hanging on every word!
Before I go on, a disclaimer: Don't try this yourselves, readers. I know we'd all like a little one-on-one with Hugh, but it's not worth missing the opening number, even if his clothes do stay on!
EVERYBODY RISE!
Will any show ever be as special of a theatrical event than 2002's Tony-winning Special Theatrical Event Elaine Stritch At Liberty? Will Broadway see an event like the one born of the magical collaboration of one-of-a-kind star Elaine Stritch, writer John Lahr and director George C. Wolfe? I'm not holding my breath nor should you. In the meantime we have the Image Entertainment DVD of the show and now, premiering this Saturday at 8pm on HBO, a documentary film appropriately called, well, Elaine Stritch At Liberty! (Why try to top a title as good as that?)
Mixing footage shot during Stritch's post-Broadway run at London's Old Vic with behind-the-scenes footage of the legend, At Liberty starts off with early rehearsals at the Public Theater, where the show premiered. There is amusing banter between Stritch and Wolfe, whom she threatens after he suggests a change by saying, “When this show flops, I'm blaming you!” We also see Stritch getting made up backstage, having her bruised feet checked by a doctor, shooting herself up with insulin and playfully abusing assistant Rick Borutta, amusingly credited as “ex-assistant to Miss Stritch” in the opening sequence.
The HBO film is not a complete document of the show by any means, although most of the choice segments of storytelling are intact, including my fave involving the "eight Giordanos in the third row." Archival footage is put to good use to illustrate some of the stars that Stritch crossed paths with, although there is sadly no video of her stage successes. Die-hard fans of the show probably already own the DVD, and I wouldn't call this new At Liberty required viewing as the behind-the-scenes elements are limited. It's more like an easily digestible version of the wit and wonder of Stritch for mainstream audiences.
The only real misstep of this documentary is the overuse of footage from director D.A. Pennebaker's legendary 1970s film showing the harried recording of the cast album for Stephen Sondheim's Company. The earlier movie is a fascinating document on its own, with Stritch's inability to nail “The Ladies Who Lunch” its core attraction. When Stritch launches into the song onstage at the Old Vic, Pennebaker rushes the Company footage into a four minute chunk that stops At Liberty cold and manages to do a disservice to both of his films in the process.
Still, this At Liberty (also directed by Pennebaker colleagues Chris Hegedus and Nick Doob) is highly recommended. The Broadway and London triumph (which is hitting Boston this summer) is the quintessential showbiz story and a true survivor's tale, made only more moving in extreme close-up. Bravo, Stritchie!
TONY TREATS
Last year many of you enjoyed my documenting of the various items I received from Tony-nominated shows trying to sway my votes in their favor. I should point out that many of the non-press voters get much more, including invitations to cocktail receptions with the stars. In the interest of full disclosure, this is what I've received in the past couple of weeks, by show:
A Raisin in the Sun--The play's the thing, or so producers seem to be saying by mailing out special hardcover versions of Lorraine Hansberry's script. On the cover is the Mark Seliger photo of the cast in costume on the set that helped make the revival the must-see show of subway riders citywide.
Avenue Q--In addition to the aggressive campaign pizza party and show at John's Pizza on May 12, I've received by mail a cast recording of the show (another one!) and, separately, a CD single of “Rod's Dilemma,” the new Robert Lopez/Jeff Marx tune in which the denizens of the show tell Rod to vote with his heart when choosing a Rotary Club president. (Wink, wink!)
Big River--From Deaf West Theatre in Los Angeles, a letter announcing the upcoming national tour and a VHS tape of a six-minute Today show segment on the Broadway production that aired during previews last summer. Narrated by Katie Couric, the segment features interviews with director/choreographer Jeff Calhoun, Deaf West's Ed Waterstreet and stars Phyllis Frelich, Tyrone Giordano, Daniel Jenkins, Michael McElroy and Trot Kotsur and footage of both the Broadway production and, briefly, the original Deaf West staging.
Caroline, or Change--From the dozens of producers: an advance CD of the upcoming Hollywood Records cast album (out June 22). Although the program didn't feature any song titles, the CD does: “Salty Teardrops,” “I Hate the Bus,” “Chanukah Transition,” “The Bus,” “Roosevelt Petrucius” and “Lot's Wife,” star Tonya Pinkins' emotional Act Two breakdown number that will be performed on the Tony telecast.
Frozen--A slick color one-sheet with quotes from critics and the creepy new art of the three black shadowy figures against the blue background. (A nod to the original poster for the Oscar winning film Mystic River?)
Henry IV/King Lear--In honor of their two nominated Shakespeare productions, Lincoln Center Theater cleverly sent out a card congratulating the Bard “on his 440th birthday and upon receiving the most Tony Award nominations of his career.” Included were two sheets of stamp-sized stickers of the best productions of LCT's past 20 years (most featuring art by the great James McMullen).
Jumpers--A little plastic turtle along with a triple-fold hard stock portfolio featuring quotes from critics and full reprints of reviews by Ben Brantley of The New York Times and Terry Teachout of The Wall Street Journal. In addition, there are feature stories from Elle, Time Out London and The Los Angeles Times and, of course, that glorious photo of nominee Essie Davis up on the moon.
Taboo--I'm sure if the show had been nominated for Best Musical, producer Rosie O'Donnell would have shown up herself on my doorstep, but instead I received by mail the exquisite original cast recording of the show, which will no doubt make composer Boy George a contender in the Best Score race.
The Retreat from Moscow--Will I understand why some of the city's top critics championed this Best Play nominee after I read the soft-cover book version that has found its way onto my bookshelf? I'll let you know!
Wonderful Town--The most creative gift of the bunch, the folks over at Wonderful Town sent around bright blue View-Masters (remember those?) with seven colorful production shots viewable inside.
That's it so far. No broomstick from Wicked or Cuban cigars from Anna in the Tropics. Oh, well. They still have a week until I turn in my ballot!
WOULD YOU LET YOU CRUISE?
Since so many of my readers are fans of Taboo, I feel compelled to inform you of a mini-reunion taking place...at sea! Remember that Caribbean cruise I mentioned a while back courtesy of R Family Vacations (the company Rosie and Kelli O'Donnell put together for gays and their families and friends)? Well, the list of Broadway talents signing up to perform is starting to look like the cast list of Taboo! Let's see... Euan Morton, Liz McCartney, Jeffrey Carlson, Cary Shields, Brooke Elliott, Denise Summerford... Seems like there's a pretty good chance that cruisers will hear some of Boy George's Tony-nominated score on the seven-day cruise to Port Canaveral, Key West and the Bahamas.
But let's not forget about headliner Christine Ebersole and 42nd Street friend Billy Stritch. Or Seth Rudetsky and the line-up of theater names that he's helped get "on board:” Billy Porter, Jose Llana, Anika Larsen, Julia Murney, Kristine Zbornik, Paul Castree... The list grows daily--it seems that everyone could use a nice vacation after the season we've all been through.
You too? Then join Rosie (who will perform with many of the above names during a big sail away show) at sea from July 11-18. The half-off offer for Broadway union card members still stands, so call (866) 732-6822 or visit the R Family Vacations website for more information.
IN BOX
Dear Paul:
I was lucky enough to be in town last Wednesday when Little Shop of Horrors performed a special matinee performance and was thrilled to sit front and center. I'd read several apathetic reviews and really wasn't expecting much, but I'm absolutely thrilled to report that it was one of my most enjoyable recent experiences on Broadway. The entire cast was clearly having a wonderful time in a wonderful piece that left me smiling all day long. What was especially great was meeting the cast at the stage door after the show--they were all extremely gracious and spent more time talking with my companion and me than anyone's ever done for us at a stage door before. I'd like to recommend to the Tony committee that they consider a new award--Best Ensemble Performance. The Little Shop crew would win hands down! From Audrey to every urchin and puppeteer what a great group of talented and gracious performers! I suppose the reason I'm writing this to you is because I know you're the community cheerleader, and I'm hoping you can do a little cheering for this very fun, very entertaining show featuring some amazingly talented and super-nice true Broadway stars!
---- Jason Jaquays-Tarbox
---- Poughkeepsie, New York
Dear Jason:
I'm printing your letter for all of the fans of Little Shop out there. I've never really printed my feelings about the Broadway production of the show, but I guess now's as good a time as any. Little Shop is one of the first musicals that I really got into as a kid, thanks mostly to the original cast album and the fab film version. I know every moment of the show by heart and have been championing the notion of a Broadway debut for it since I started writing about theater. Having said that, I was disappointed by both the Florida and Broadway productions of the show when I saw them last summer. The Jerry Zaks-version especially seemed unnecessarily aggressive when, in my opinion, a delicate touch is what makes Little Shop bloom. But I'm thrilled that young audiences are discovering this adorable show, and I'm not surprised at all that you fell in love with the cast, Jason. They are a “super-nice” group of people. And yes--there should be an ensemble award at the Tonys. Thankfully, the Broadway.com Audience Awards have such a category. So go vote for Little Shop now!!!
Dear Paul:
As you might agree, producing a revival is largely dependent on whether or not the show can be staged fresh enough to become a hit and thrive while not being overshadowed by the original production. Big River would be a perfect example of a revival that rethought it's staging to wonderful results. But casting is also a very large part of the puzzle. Are there any shows you would like to see revived with possibly non-traditional casting attached? Because I'm somewhat crazy about her, I always wondered what the revival of Little Shop would be like if Jennifer Holliday made her Broadway return to play the plant. It would give a whole new twist on the show if the voice of the plant was a female. Or what about reviving Peter Pan with someone like Natalie Venetia Belcon as Peter and re-orchestrating the show with a sound that would more fit her voice? I just hate seeing the same old shows with the same kinds of people up on stage singing the same old songs. I love your column and totally agree about Ann Harada!
---- Brandon Ivie
---- Seattle, Washington
Dear Brandon:
Yes! Revivals that are nothing more than cookie-cutters of the originals are a bore, which is why I've been championing Fiddler on the Roof. Big River is obviously a complete original and deserving of all its praise (and its own Tony number--shame on the producers of the show for denying audiences a live number from Jeff Calhoun's stunning production!). But onto your question. I'd love to see Holliday play the plant. Hell, I'd even love to see her play Audrey! In general, I think that casting directors are painfully safe in their choices. Let's shake things up, people!
Dear Paul:
How on earth could the Tony Committee snub Ann Harada?! I, too, was expecting to see Christmas Eve up there getting a trophy on June 6th, so for her not even to be nominated makes me furious! I caught Avenue Q for the second time last weekend right after the nominations were announced and am happy to report that if Harada was at all disappointed, she didn't let it affect her performance. She gave it everything she had as if to say, "Screw you, nominators! Look what I can do!" Giving a ovation-worthy rendition of "The More You Ruv Someone." When they passed the baskets in "Give Us Your Money" I dropped a special note in for Harada stating she was robbed! Let's just say it was from both of us, Paul, and all of her countless other fans that have seen her magnificent performance!
---- Phillip Fazio
---- Tempe, Arizona
Dear Phillip:
Yeah, you could have signed my name to that note. Then again, as I mentioned last week, there are countless theatergoers confused by the omission. Certainly you'd need a notebook to fit all of our names! I caught Avenue Q this past Sunday for the third time (once off-Broadway, twice on Broadway now) and was seated in front of Wicked star Carole Shelley, a fellow snubee in the featured actress category. From her laughs, the veteran performer seemed to love the show, especially cheering on Harada. Nice how the ladies stick together!
That's it for now. Talk to you next week. Please e-mail me any of your questions, comments or critiques!
Paul Wontorek
Editor-in-Chief
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