08/06/04
For those of you keeping score, Dracula is the second new musical of the season, assuming that the Tony committee will agree that Stephen Sondheim's The Frogs isn't a part of the "historical or popular repertoire." There are seven more with clear plans for a Broadway bow prior to the 2005 Tony cut-off (All Shook Up, Brooklyn, Chitty Chitty Bang Bang, Dirty Rotten Scoundrels, Little Women, Spamalot and The Light in the Piazza) and several other possibilities (Good Vibrations and Lennon among them), which makes the season a wealthy one for fans of song and dance. By comparison, only seven new musicals opened on Broadway in the 2003-04 season.
ASTONISHING WOMEN
But what are musical theater fans supposed to do now to get their kicks? Well, I for one took the opportunity to catch two new shows during recent presentations. Although I would never actually review something in such a premature form, the producers of the following have given me their blessing to allow highlights of their soon-to-be Broadway babies. (Go figure--producers of upcoming shows are more than happy to have positive buzz spread out into the world!)
The first event was a July 20 reading of Little Women, the musical adaptation Louisa May Alcott's novel, which my mother always told me was her favorite growing up. Who could blame her for cheering for the 1868 classic, which still tugs at the heart with its story of four sisters living and loving in war-torn colonial New England? Because of its plot turns, Little Women can easily become maudlin melodrama in the wrong hands. Thankfully librettist Allan Knee, composer Jason Howland and lyricist Mindi Dickstein appear to have the right hands for the job as their Little Women was refreshingly syrup-free yet still emotionally satisfying. Whether the show is too delicate for Broadway remains to be seen, but it would seem that director Susan H. Schulman (The Secret Garden, The Sound of Music) has proven herself capable of bringing such projects to life in the past.
The cast of the reading was not necessarily the company that will take to the stage of the Virginia Theatre for the show's first preview on December 2. Yes, Sutton Foster was there to play feisty heroine Jo March as were Jenny Powers as sister Meg, John Hickok as Professor Baher and old-timer Robert Stattel, who will play gruff neighbor Mr. Lawrence. But the rest of the roles were played by other various performers for the reading, including Light in the Piazza star Celia Keenan-Bolger subbing for Megan McGinnis as Beth and Hunter Foster replacing a sick actor at the last minute to read the part of Meg's suitor John Brooke, giving the Foster children a moment or two to adorably play off one another for the delighted industry crowd. Maureen McGovern, who the Little Women team has lured back to Broadway after a 15-year break, was sadly not on hand, but standby Anne Kanengeiser (Ragtime) did a lovely job with Marmee's two solos.
But clearly the show belongs to Sutton Foster, who has found an ideal follow-up vehicle for her Tony-winning triumph three seasons back in Thoroughly Modern Millie. Two years carrying the weight of that show on her shoulders did wonders for Foster, who's a stronger performer than ever, supremely confident and always in charge. The role fits her like a glove-perhaps headstrong Jo March is even closer to the real Sutton than wild child Millie Dillmount. In addition to some touching scene work, Little Women gives Foster a handful of good songs, including "Astonishing," the thrilling Act One closer that I hear may be a part of this year's Broadway on Broadway on September 12.
My friends always make fun of me for jumping the gun on Tony predictions, but Foster is set to be a major contender again this year. From the ridiculous standpoint of August, the other big ladies up for the best lead musical actress race would seem to be Christina Applegate (Sweet Charity), Victoria Clark (The Light in the Piazza), Melissa Errico (Dracula), Eden Espinosa (Brooklyn), Jennifer Gambatese (All Shook Up) and Sherie Rene Scott (Dirty Rotten Scoundrels). I guess Keenan-Bolger may also be in the leading race for Piazza and then there's always the as-of-yet uncast role of Dorothy in The Wiz which could fill one of the five slots. (Even if Stephanie Mills was overlooked back in 1975!) Of course, this list will change over the next nine months--you have no idea how much I'll be obsessing over it!
BIG HAIR IS STILL IN
I had an amazing time at another presentation this week and apparently I'm not the only one. After two industry-heavy showings of Beehive on Broadway, everyone in town is buzzing about the chance of the musical becoming a late entry in the 2004-05 season. And why not? Big hair and big laughs and a '60s setting is certainly working for Hairspray, and that show doesn't even have can't-miss songs like "Downtown," "It's My Party," "My Boyfriend's Back," "Will You Still Love Me Tomorrow?" and "You Don't Own Me" in it!
Produced by Jeffrey Richards and Michael Rothfeld, Beehive on Broadway is a complete reworking of the 1986 show that played for 600 performances at the Top of the Gate off-Broadway and helped launch the careers of Pattie Darcy Jones (Smokey Joe's Café), Alison Fraser, Jasmine Guy and Adriane Lenox. The high-voltage musical is still a tribute to the all-girl pop sounds of the '60s, but the songs are now loosely wrapped around a book (by Jim Goeghan) that tells of two lovelorn black girls in contemporary time who are visited by a guardian angel girl group that takes them back to their decade to teach them lessons in love and R.E.S.P.E.C.T. with the help of the girl group songbook. Sound silly? Well, it is. And it knows it is, which is always the key to these things. (Self-importance doesn't mix with silliness--it's what was so wrong with the Broadway Mamma Mia! for the first year of its run).
Former Broadway baby Debbie Allen (who, for my younger readers, worked her way up the ranks on Broadway in '70s and '80s dancing in shows like Purlie, Raisin and Ain't Misbehavin' before playing both Anita in West Side Story and Charity in Sweet Charity) is set to make her debut as a director/choreographer with Beehive on Broadway. Even if the presentation that I saw was only two-thirds or so of the final show, I was dazzled by Allen's work. There was one stunning dance piece after another and a real flow to the entire proceeding. I think we may have to convince Allen to stick around these parts and teach some of the new breed of Broadway choreographers a thing or two, Lydia Grant style!
What's really exciting about Beehive on Broadway is it's completely ladies night. Sure, there are men in the show (that Allen shows off in a sexy beach dance scene), but it's all about the primary female roles. Can you think of the last time you saw a Broadway musical that kept the men in the background and offered a showcase for six dynamic and talented female triple threats instead? Well, I can't! At the reading, the contemporary gals were played by Kearran Giovanni (Bare) and Nikki James (All Shook Up) while the girl group was made up of the hilarious team of Tracy Jai Edwards, Mandy Gonzalez, Francesca Harper and a high-belting, high-camp Orfeh.
It remains to be seen whether or not producers will bring Beehive on Broadway into such a crowded season of musicals. But something tells me that a fun-loving tuner like this might be just what this town needs.
TOTALLY TONYA
Tonya Pinkins may have scored a first by taking charge of Caroline, or Change's impending closing by announcing it herself on www.tonyapinkins.com a day before producers told the press. Pinkins is also sharing hundreds of personal photographs on the recently redesigned website including terrific behind-the-scenes shots of her various stage successes. The most talked-about section may be the one called "Birth," which features 30 images of a naked, peace-loving Pinkins before, after and during (!) the birth one of her sons. Proceed with caution--it's pretty graphic! Pinkins is truly one of a kind. Here's hoping we get her back around these parts again soon--ideally in a vehicle that can show off more of her colors!
IN BOX
Dear Paul:
Do you think the massive security and the general disarray during the Republican Convention will ultimately lead to canceled performances on Broadway that week? My wife and I have tickets to see several shows that week and we're afraid that even if we do make the trip into the city, there might be canceled performances. Similarly, would we be able to exchange our tickets in advance for other dates?
----Vinnie DiMartino
----Rock Tavern, New York
Dear Vinnie:
I think its unlikely that performances will be canceled during the convention, although there is a major movement afoot to make the Republicans feel unwelcome including a letter-writing campaign asking the stars of shows to call in sick rather than perform for them. It should be an interesting week one way or the other! As to your other question, if you purchased your tickets on Broadway.com and the performance is canceled, you can certainly exchange tickets.
Dear Paul:
It's been months since you've mentioned Ellen Greene. What are you thinking, my man? Is there any update on that album that you wrote she was recording? An L.A. friend tells me she was amazing in a production of Side Man out there. We need to get her back to Broadway! Especially now that that blasphemous production of Little Shop is closed for permanent renovations!
----Danny Harrigan
----Nutley, New Jersey
Dear Danny:
Thanks for you letter. One of my favorite topics is someone that's Greene, so I'm glad to share some news. First of all, the album is done and will be on sale in the next few weeks. Ellen is playing in Provincetown, Massachusetts from August 19-30 with hubby Christian Klikovits every night at 8:30pm (except Wednesdays) at the Unitarian Universalist Meeting House Theatre. Call (508) 487-9793 for reservations and more information. The CD, titled In His Eyes, will be available at the show. As for Little Shop, Greene recently mentioned in an e-mail that she will be singing "Somewhere That's Green" at an October 25 benefit at Avery Fisher Hall. "Who knows?" she joked. "Maybe I'll even get in drag. I did it for the Queen of England--stranger things have happened!" I'm there!
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
For an archive of old Stage Note columns, click here.