Armistead Maupin's Blog, page 30
June 3, 2011
Tales of the . . . Cast! Meet Diane J. Findlay
Tales of the . . . Cast! Meet Diane J. FindlayNAME Diane J. Findlay.
CHARACTER Mother Mucca.
HOMETOWN Suffern, New York. It's about 25 miles north of New York City, up the Hudson River.
FIRST THEATER EXPERIENCE Hello, Dolly! on Broadway.
FAVORITE THEATER EXPERIENCE That's a hard one. There's been soooooo many. You see, I love what I do and each project brings along something exciting and interesting and new; something to take home with me and remember, hopefully with laughter.
FIRST EXPERIENCE WITH TALES My first audition for Tales of the City was a wonder. At first I thought perhaps I shouldn't go to the audition because I felt our director Jason Moore would never buy me as Mother Mucca, and I knew I'd be disappointed, but my agent talked me into it. So I decided to go for broke and have myself a ball, which I did, and look what happened! The entire creative team was wonderful and they made me feel as if couldn't fail. I felt safe, and that's rare at an audition. My second audition was even better, because by then I really knew "Ride 'em Hard," the dirtiest song in show business, and I couldn't wait to dazzle them with my take on the song. And apparently I did. Lucky me!
HOW ARE YOU LIKE MOTHER MUCCA? Well, Mother Mucca runs a whorehouse, sooo how much am I like my character??? I'm afraid to think. However, and this is true, my apartment in New York, on the Upper West Side, was once a whorehouse for the 79th Street Boat Basin. Isn't that funny!
FAVORITE MUSICAL A Little Night Music, Mame, The Spitfire Grill, Dear World. I could go on and on and on.
FAVORITE SONG TO SING "If He Walked into My Life."
EDUCATION High school and then right into the business. I couldn't wait to step foot on a stage. I'm HOPELESS but HAPPY.
PERFORMANCE RITUAL I start to settle down around 4:00 in the afternoon. Have a bite to eat around 5:00, take a little snooze, exercise, vocalize, and get to the theater an hour before curtain. This has been my routine from day one, and it has always worked for me.
FAVORITE '70s WARDROBE ITEM Who can remember?!!! I pass on that one.
http://blog.act-sf.org/2011/05/tales-of-cast-meet-diane-j-findlay.html
The city stops to listen to its 'Tales'
Leah Garchik
Friday, June 3, 2011
The press kit contained a package of rolling papers, a box of matches and a condom. That sums up the era of "Armistead Maupin's Tales of the City," the musical version of which was welcomed by American Conservatory Theater on Wednesday with dinner in Union Square, a performance and an after-party at Ruby Skye.
With the notable exception of a couple of the Scissor Sisters, most of the 700 or so partygoers converging on tented Union Square had forsaken their bell bottoms for tuxedos and gowns - Charlotte Shultz notably in Alexander McQueen - and the only non-cast member sporting a salute-to-the-'70s mustache was Mayor Ed Lee. He'd been living in Berkeley, a law student at Boalt during that era, he said, and as a member of the Asian Law Caucus, "making trouble with the city" over evictions at the I-Hotel. He knew about "Tales" but "I didn't know people like that."
"Here we have the panoply," cracked Armistead Maupin at the sight of couture-clad Joy Bianchi next to a gaggle of Sisters of Perpetual Indulgence and cast members from "Vice Palace: The Last Cockettes Musical." The mix caused a chic-to-cheeky dilemma: Arriving partygoers wrestled with kissy-kissy technique while greeting pals wearing aggressive makeup (palm frond eyelashes, rainbow-striped faces augmented with patches of facial hair).
Just inside the front door, Ken McNeely, California president of AT&T California, a major supporter of the production, beamingly described his company as a "bold leader" sponsoring a "bold production." Required gala preliminaries - thanking everyone who provided creative and financial support - were handled cleverly by "Beach Blanket Babylon" cast members, who "mentioned every sponsor you could think of," said Jo Schuman Silver. (Artistic Director Carey Perloff, who'd spent the weekend at her daughter Lexie's Harvard graduation, said Silver had sung her the thank-you song on the phone while she was at the airport.)
The plane of Maupin's special guest, Laura Linney, was delayed by three hours, but she made it to the stage in time to pay touching tribute to the writer who'd changed her life; Jim Hormel and Michael Nguyen were just back from Luxembourg, where the San Francisco Symphony was playing Mahler. And the excited hum at dinner went up a few octaves when McCalls served dessert, a re-creation of Blum's coffee crunch cake.
Maupin reminisced to tablemates about former Chronicle Managing Editor Gordon Pates, so fretful over the gay content of "Tales" that he made a chart listing homosexual characters and heterosexual characters. After one episode in which a dog was described as having humped a socialite's leg, Maupin persuaded the editor to put the dog in the hetero column.
P.S.: At the after-party, star Judy Kaye said playing Anna Madrigal is "the time of my life. I was starting to think that the really great roles were over, that I'd be playing grandmothers. But here I am, in one of the greatest roles I've ever been asked to play." There's no guarantee if the show goes to Broadway, she'll be in it, but "if they want me, I'd do backflips. I'd do anything. I'm not shy about it. I'd like to ride this little puppy."
P.P.S.: ACT raised something like $980,000 from the event. And in a kind of nonprofit piggybacking, Nextcourse, a food education program for low-income groups, conducted an eBay auction for a pair of tickets to the opening gala. They made $3,000.
http://www.sfgate.com/cgi-bin/article.cgi?f=/c/a/2011/06/02/DD211JNJA5.DTL
Friday, June 3, 2011
The press kit contained a package of rolling papers, a box of matches and a condom. That sums up the era of "Armistead Maupin's Tales of the City," the musical version of which was welcomed by American Conservatory Theater on Wednesday with dinner in Union Square, a performance and an after-party at Ruby Skye.
With the notable exception of a couple of the Scissor Sisters, most of the 700 or so partygoers converging on tented Union Square had forsaken their bell bottoms for tuxedos and gowns - Charlotte Shultz notably in Alexander McQueen - and the only non-cast member sporting a salute-to-the-'70s mustache was Mayor Ed Lee. He'd been living in Berkeley, a law student at Boalt during that era, he said, and as a member of the Asian Law Caucus, "making trouble with the city" over evictions at the I-Hotel. He knew about "Tales" but "I didn't know people like that."
"Here we have the panoply," cracked Armistead Maupin at the sight of couture-clad Joy Bianchi next to a gaggle of Sisters of Perpetual Indulgence and cast members from "Vice Palace: The Last Cockettes Musical." The mix caused a chic-to-cheeky dilemma: Arriving partygoers wrestled with kissy-kissy technique while greeting pals wearing aggressive makeup (palm frond eyelashes, rainbow-striped faces augmented with patches of facial hair).
Just inside the front door, Ken McNeely, California president of AT&T California, a major supporter of the production, beamingly described his company as a "bold leader" sponsoring a "bold production." Required gala preliminaries - thanking everyone who provided creative and financial support - were handled cleverly by "Beach Blanket Babylon" cast members, who "mentioned every sponsor you could think of," said Jo Schuman Silver. (Artistic Director Carey Perloff, who'd spent the weekend at her daughter Lexie's Harvard graduation, said Silver had sung her the thank-you song on the phone while she was at the airport.)
The plane of Maupin's special guest, Laura Linney, was delayed by three hours, but she made it to the stage in time to pay touching tribute to the writer who'd changed her life; Jim Hormel and Michael Nguyen were just back from Luxembourg, where the San Francisco Symphony was playing Mahler. And the excited hum at dinner went up a few octaves when McCalls served dessert, a re-creation of Blum's coffee crunch cake.
Maupin reminisced to tablemates about former Chronicle Managing Editor Gordon Pates, so fretful over the gay content of "Tales" that he made a chart listing homosexual characters and heterosexual characters. After one episode in which a dog was described as having humped a socialite's leg, Maupin persuaded the editor to put the dog in the hetero column.
P.S.: At the after-party, star Judy Kaye said playing Anna Madrigal is "the time of my life. I was starting to think that the really great roles were over, that I'd be playing grandmothers. But here I am, in one of the greatest roles I've ever been asked to play." There's no guarantee if the show goes to Broadway, she'll be in it, but "if they want me, I'd do backflips. I'd do anything. I'm not shy about it. I'd like to ride this little puppy."
P.P.S.: ACT raised something like $980,000 from the event. And in a kind of nonprofit piggybacking, Nextcourse, a food education program for low-income groups, conducted an eBay auction for a pair of tickets to the opening gala. They made $3,000.
http://www.sfgate.com/cgi-bin/article.cgi?f=/c/a/2011/06/02/DD211JNJA5.DTL
"Tales of the City," The Musical: Looking Good in Previews
Posted by BriOut, June 2, 2011
Armistead Maupin's Tales of the City, a seminal novel chronicling the misadventures, scandals, betrayals and free loves of the 70's era cohabitants of San Francisco's fictional 28 Barbary Lane, is one of my all-time favorite pieces of literature. From the deceptively light prose, to its beloved creations such as Mrs. Madrigal, Michael "Mouse" Tolliver, Mona Ramsey, and Mary-Anne Singleton, to the practically magical, Dickens-esque coincidences that occur between them, the book is a flat out masterpiece.
So it was with more than a little trepidation that I approached a musical adaptation of such an important and beloved book.
On one hand, I'd already gone through this once with the groundbreaking 1993 PBS adaptation starring Laura Linney, Marcus D'Amico and Olympia Dukakis, and I consider the effort to be among the best examples of getting an adaptation right -- keeping enough of the story to appreciate it in its new medium while not being a slavish and staid recreation of the book.
And the stage version counts Jason Moore and Jeff Whitty of Avenue Q as their director and libretto author and (in a rather inspired idea) Jake Shears and John Garden of Scissor Sisters as the architects of the show's musical score.
But on the other hand… Carrie: The Musical.
Fortunately, this latest incarnation of Tales gets it right… mostly.
The story begins with twenty-five year old Mary-Anne Singleton (Betsy Wolfe) phoning her mother in Cleveland to informs them that her vacation in the city would be a permanent one. When Mary-Anne searches for a place to live, she meets Mrs. Anna Madrigal (the incomparable Judy Kaye), the landlady and mother-figure of 28 Barbary Lane.
"Do you have an objection to pets?" – Mary-Anne
"Dear, I don't have an objection to anything." – Madrigal
Indeed, when Mary-Anne moves in, she finds a joint taped to her apartment door and a complex filled with strange and colorful characters -- Mona Ramsey (Mary Birdsong), a carefree bisexual woman still reeling from her father's long ago abandonment of her, Brian Hawkins (Patrick Lane) a straight guy happy to be among gays -- less competition for women -- yet still longing for something deeper than Continental Baths, and Michael "Mouse" Tolliver (Wesley Taylor) a gay man looking for love and romance, living out and open in San Francisco but closeted to his Anita Bryant supporting parents.
Through Mary-Anne's job, we meet the wealthy Halcyon family, including patriarch Edgar (Richard Poe), daughter DeDe (Kathleen Elizabeth Monteleone) and her slimy husband Beauchamp (Andrew Samonsky).
Together, these two odd families somehow help Mary-Anne transform from naïve Ohioan to a real live San Franciscan.
The stage version ups the humor factor considerably, sometimes at the risk to the more poignant moments of the material. But, when it really matters, the production manages to step out of its own way to allow the more affecting moments to shine. As he did with Avenue Q, director Jason Moore proves he's skilled at getting great theater out of comparatively limited production and lighting design.
Those going in expecting the involvement of Scissor Sisters to yield boundary-pushing, glam-rock musical results, prepare to be slightly disappointed. The songs are almost aggressively traditional, at least in the context of modern stage musicals. But once divorced from loftier expectations, you discover that the musical numbers are mainly strong, effective and skillfully composed, which may be a more impressive feat when you truly think about how the songwriters stretched their skills and stepped outside of their comfort zone. You might not be humming songs after exiting the theater (I didn't), but you'll want to hear many of them again.
The performances are all uniformly good. Some of them are great. Kaye brings just the right touch of stage theatricality to Anna without veering into precious quirk and she has a wonderful stage partner in her scenes with Poe.
But the MVP's of the show are clearly Birdsong and Taylor.
Mona's "D'orothea" subplot, wonderfully weird in the novel, is dropped as the stage version puts the focus on Mona's wildly comic self-destructive streak and her complicated past with her father. But we aren't allowed to mourn it much as Birdsong's fearlessness and sharp comedic timing ramps up the energy level every time she's on stage. She's equally adept in selling (but not overselling) the dramatic requirements of the role.
And adorable doesn't even begin to describe Taylor's performance as Mouse. While given less comedy to perform than his cast mates, he brings the warmth and charm that is absolutely pivotal to the role and his performance of the letter Mouse writes to his mother is the most touching moment in the production.
Also enjoyable is watching the unfolding of Mouse's relationship with Dr. Jon Fielding, played by Josh Breckenridge with considerable magnetism.
Casting an African-American in the role of Jon was a great choice as it sidesteps the need to suspend disbelief – namely, that in 1976 San Francisco, a group of people this involved with the city's goings-on's would somehow not know anyone of color. Casting Breckenridge specifically was a great choice because he's simply wonderful in the role.
Also outstanding is Diane J. Findlay who plays Mother Mucca (who didn't appear in the series until the second book). Mucca appears only in the second act but Findlay nearly steals the whole show. Her song, "Ride It Hard and Put Away Yet" has to be seen and heard to be believed.
If Mother Mucca's appearances breathes new life into the second act, then unfortunately the subplot involving the character Norman Neal Williams (Manoel Felciano) threatens to kill it. Felciano does what he can in the role but he's not nearly awkward enough to make Norman off-putting or dark enough to make him creepy -- two things his character is supposed to be. And as while the novel supplies him with a truly loathsome extra-curricular activity, for some reason this is dropped in the adaptation -- thereby making his ultimate fate seem needlessly cruel instead of the just reward we're supposed to feel.
The later moments also fall victim to what I call Second Act Syndrome -- when all of the various subplots are racing towards conclusion so fast, you feel it's at the expense of genuine emotional truth. Sometimes you want to marinate in a moment before being hurled across the finish line.
Yet these are minor quibbles. Tales of the City is a very difficult story to tell on stage but this production succeeds at telling it very well. And while it isn't perfect, it is fun, affecting, and contains performances that give me more than a small measure of joy just thinking about them. That is what musical theater is all about.
Tales of the City: The New Musical is playing from now until July 10th at San Francisco's American Conservatory Theater (ACT). You can visit their website for more information.
Please note: this is a review of a show in previews. The cast, scenes and songs described in this review are subject to change.
http://www.afterelton.com/theater/tales-of-the-city-musical-preview-review?page=0,1
Armistead Maupin's Tales of the City, a seminal novel chronicling the misadventures, scandals, betrayals and free loves of the 70's era cohabitants of San Francisco's fictional 28 Barbary Lane, is one of my all-time favorite pieces of literature. From the deceptively light prose, to its beloved creations such as Mrs. Madrigal, Michael "Mouse" Tolliver, Mona Ramsey, and Mary-Anne Singleton, to the practically magical, Dickens-esque coincidences that occur between them, the book is a flat out masterpiece.
So it was with more than a little trepidation that I approached a musical adaptation of such an important and beloved book.
On one hand, I'd already gone through this once with the groundbreaking 1993 PBS adaptation starring Laura Linney, Marcus D'Amico and Olympia Dukakis, and I consider the effort to be among the best examples of getting an adaptation right -- keeping enough of the story to appreciate it in its new medium while not being a slavish and staid recreation of the book.
And the stage version counts Jason Moore and Jeff Whitty of Avenue Q as their director and libretto author and (in a rather inspired idea) Jake Shears and John Garden of Scissor Sisters as the architects of the show's musical score.
But on the other hand… Carrie: The Musical.
Fortunately, this latest incarnation of Tales gets it right… mostly.
The story begins with twenty-five year old Mary-Anne Singleton (Betsy Wolfe) phoning her mother in Cleveland to informs them that her vacation in the city would be a permanent one. When Mary-Anne searches for a place to live, she meets Mrs. Anna Madrigal (the incomparable Judy Kaye), the landlady and mother-figure of 28 Barbary Lane.
"Do you have an objection to pets?" – Mary-Anne
"Dear, I don't have an objection to anything." – Madrigal
Indeed, when Mary-Anne moves in, she finds a joint taped to her apartment door and a complex filled with strange and colorful characters -- Mona Ramsey (Mary Birdsong), a carefree bisexual woman still reeling from her father's long ago abandonment of her, Brian Hawkins (Patrick Lane) a straight guy happy to be among gays -- less competition for women -- yet still longing for something deeper than Continental Baths, and Michael "Mouse" Tolliver (Wesley Taylor) a gay man looking for love and romance, living out and open in San Francisco but closeted to his Anita Bryant supporting parents.
Through Mary-Anne's job, we meet the wealthy Halcyon family, including patriarch Edgar (Richard Poe), daughter DeDe (Kathleen Elizabeth Monteleone) and her slimy husband Beauchamp (Andrew Samonsky).
Together, these two odd families somehow help Mary-Anne transform from naïve Ohioan to a real live San Franciscan.
The stage version ups the humor factor considerably, sometimes at the risk to the more poignant moments of the material. But, when it really matters, the production manages to step out of its own way to allow the more affecting moments to shine. As he did with Avenue Q, director Jason Moore proves he's skilled at getting great theater out of comparatively limited production and lighting design.
Those going in expecting the involvement of Scissor Sisters to yield boundary-pushing, glam-rock musical results, prepare to be slightly disappointed. The songs are almost aggressively traditional, at least in the context of modern stage musicals. But once divorced from loftier expectations, you discover that the musical numbers are mainly strong, effective and skillfully composed, which may be a more impressive feat when you truly think about how the songwriters stretched their skills and stepped outside of their comfort zone. You might not be humming songs after exiting the theater (I didn't), but you'll want to hear many of them again.
The performances are all uniformly good. Some of them are great. Kaye brings just the right touch of stage theatricality to Anna without veering into precious quirk and she has a wonderful stage partner in her scenes with Poe.
But the MVP's of the show are clearly Birdsong and Taylor.
Mona's "D'orothea" subplot, wonderfully weird in the novel, is dropped as the stage version puts the focus on Mona's wildly comic self-destructive streak and her complicated past with her father. But we aren't allowed to mourn it much as Birdsong's fearlessness and sharp comedic timing ramps up the energy level every time she's on stage. She's equally adept in selling (but not overselling) the dramatic requirements of the role.
And adorable doesn't even begin to describe Taylor's performance as Mouse. While given less comedy to perform than his cast mates, he brings the warmth and charm that is absolutely pivotal to the role and his performance of the letter Mouse writes to his mother is the most touching moment in the production.
Also enjoyable is watching the unfolding of Mouse's relationship with Dr. Jon Fielding, played by Josh Breckenridge with considerable magnetism.
Casting an African-American in the role of Jon was a great choice as it sidesteps the need to suspend disbelief – namely, that in 1976 San Francisco, a group of people this involved with the city's goings-on's would somehow not know anyone of color. Casting Breckenridge specifically was a great choice because he's simply wonderful in the role.
Also outstanding is Diane J. Findlay who plays Mother Mucca (who didn't appear in the series until the second book). Mucca appears only in the second act but Findlay nearly steals the whole show. Her song, "Ride It Hard and Put Away Yet" has to be seen and heard to be believed.
If Mother Mucca's appearances breathes new life into the second act, then unfortunately the subplot involving the character Norman Neal Williams (Manoel Felciano) threatens to kill it. Felciano does what he can in the role but he's not nearly awkward enough to make Norman off-putting or dark enough to make him creepy -- two things his character is supposed to be. And as while the novel supplies him with a truly loathsome extra-curricular activity, for some reason this is dropped in the adaptation -- thereby making his ultimate fate seem needlessly cruel instead of the just reward we're supposed to feel.
The later moments also fall victim to what I call Second Act Syndrome -- when all of the various subplots are racing towards conclusion so fast, you feel it's at the expense of genuine emotional truth. Sometimes you want to marinate in a moment before being hurled across the finish line.
Yet these are minor quibbles. Tales of the City is a very difficult story to tell on stage but this production succeeds at telling it very well. And while it isn't perfect, it is fun, affecting, and contains performances that give me more than a small measure of joy just thinking about them. That is what musical theater is all about.
Tales of the City: The New Musical is playing from now until July 10th at San Francisco's American Conservatory Theater (ACT). You can visit their website for more information.
Please note: this is a review of a show in previews. The cast, scenes and songs described in this review are subject to change.
http://www.afterelton.com/theater/tales-of-the-city-musical-preview-review?page=0,1
Frothy, fun at ACT's 'Tales of the City'
By: Jean Schiffman 06/02/11 2:45 PM
Special to The Examiner
Nobody is exactly who they seem to be, even to themselves, in the much-anticipated world premiere of "Armistead Maupin's Tales of the City" at American Conservatory Theater: not wide-eyed new-girl-in-town Mary Ann Singleton (buoyant, blond Betsy Wolfe); not her new boss, the dying mover-and-shaker Edgar Halcyon (Richard Poe); not his super-slick son-in-law Beauchamp (an appropriately dastardly Andrew Samonsky); not mysterious, bohemian landlady Anna Madrigal (Judy Kaye, familiar to ACT audiences from, among other musicals, "Sweeney Todd"); not free-spirited fag hag Mona Ramsey (petite Mary Birdsong); certainly not Mary Ann's seemingly shy suitor, Norman Neal Williams (ACT ensemble member Manoel Felciano).
Even Michael "Mouse" Tolliver (a charmingly vulnerable Wesley Taylor) isn't who he appears to be to his cartoony, homophobic parents, and the brazen, tough-as-nails Mother Mucca (a hilarious Diane J. Findlay) has a hidden and devastating loss in her past.
The fun of following the lives of the denizens of Barbary Lane, that fictional aerie on Russian Hill, as they party and pine, dance and sing, laugh and cry, open and close their troubled hearts, is in discovering their shocking secrets.
On opening night of the three-hour (including intermission) musical version that conflates two of Maupin's books —"Tales of the City" and "More Tales of the City "— both originally serialized in the San Francisco Chronicle in the 1970s, the San Francisco audience went wild.
After all, they were privy to plenty of inside jokes as well as captivated by the broad and witty characterizations, delivered by a crack ensemble, and by Jake Shears' and John Garden's (aka Scissor Sisters) truly delightful songs — 23 including reprises — in a delicious variety of musical styles and moods.
In Maupin's "Tales," set in 1976, a group of lost souls tests the bonds of love and friendship, and Jeff Whitty's libretto, as well as Jason Moore's direction, are perfectly calibrated to the local author's joyful, storytelling sensibility, with the action, on Douglas W. Schmidt's clever, multilevel set, moving swiftly and clearly among several plot strands.
This love letter to resolutely countercultural San Francisco is neither deeply emotionally engaging, nor nuanced — it's just out-and-out good, rousing fun, interspersed with some well-earned poignant moments, such as Mouse's affecting coming-out song, "Dear Mama," beautifully rendered by a tremulous Taylor, and a touching parent/child reconciliation at the end.
With musicians led by keyboardist Cian McCarthy, and Larry Keigwin's busy and sometimes complex choreography, the show is a light-hearted charmer.
http://www.sfexaminer.com/entertainment/2011/06/frothy-fun-act-s-tales-city
Special to The Examiner
Nobody is exactly who they seem to be, even to themselves, in the much-anticipated world premiere of "Armistead Maupin's Tales of the City" at American Conservatory Theater: not wide-eyed new-girl-in-town Mary Ann Singleton (buoyant, blond Betsy Wolfe); not her new boss, the dying mover-and-shaker Edgar Halcyon (Richard Poe); not his super-slick son-in-law Beauchamp (an appropriately dastardly Andrew Samonsky); not mysterious, bohemian landlady Anna Madrigal (Judy Kaye, familiar to ACT audiences from, among other musicals, "Sweeney Todd"); not free-spirited fag hag Mona Ramsey (petite Mary Birdsong); certainly not Mary Ann's seemingly shy suitor, Norman Neal Williams (ACT ensemble member Manoel Felciano).
Even Michael "Mouse" Tolliver (a charmingly vulnerable Wesley Taylor) isn't who he appears to be to his cartoony, homophobic parents, and the brazen, tough-as-nails Mother Mucca (a hilarious Diane J. Findlay) has a hidden and devastating loss in her past.
The fun of following the lives of the denizens of Barbary Lane, that fictional aerie on Russian Hill, as they party and pine, dance and sing, laugh and cry, open and close their troubled hearts, is in discovering their shocking secrets.
On opening night of the three-hour (including intermission) musical version that conflates two of Maupin's books —"Tales of the City" and "More Tales of the City "— both originally serialized in the San Francisco Chronicle in the 1970s, the San Francisco audience went wild.
After all, they were privy to plenty of inside jokes as well as captivated by the broad and witty characterizations, delivered by a crack ensemble, and by Jake Shears' and John Garden's (aka Scissor Sisters) truly delightful songs — 23 including reprises — in a delicious variety of musical styles and moods.
In Maupin's "Tales," set in 1976, a group of lost souls tests the bonds of love and friendship, and Jeff Whitty's libretto, as well as Jason Moore's direction, are perfectly calibrated to the local author's joyful, storytelling sensibility, with the action, on Douglas W. Schmidt's clever, multilevel set, moving swiftly and clearly among several plot strands.
This love letter to resolutely countercultural San Francisco is neither deeply emotionally engaging, nor nuanced — it's just out-and-out good, rousing fun, interspersed with some well-earned poignant moments, such as Mouse's affecting coming-out song, "Dear Mama," beautifully rendered by a tremulous Taylor, and a touching parent/child reconciliation at the end.
With musicians led by keyboardist Cian McCarthy, and Larry Keigwin's busy and sometimes complex choreography, the show is a light-hearted charmer.
http://www.sfexaminer.com/entertainment/2011/06/frothy-fun-act-s-tales-city
Tales of the City Is Now an Extended Hometown Hit at San Francisco's A.C.T.
By Kenneth Jones
02 Jun 2011
The San Francisco-set musical Tales of the City, based on Armistead Maupin's novels, will get additional performances July 12-24 due to demand at American Conservatory Theater in the City by the Bay.
The world-premiere musical prompted the largest advance sale in A.C.T.'s history prior to its first preview performance on May 18 and has continued to break sales records leading to the June 1 opening. Variety gave the show an encouraging review.
The added performances are July 12-24: 8 PM performances Tuesdays through Sundays (Sunday, July 17 performance is at 7 PM) and 2 PM matinees on July 13, 16, 23, 24. American Conservatory Theater is at 415 Geary Street in San Francisco.
According to A.C.T., "Three decades after Armistead Maupin mesmerized millions with his daily column in the city's newspapers, detailing the lives and (multiple) loves of Mary Ann, Mouse, Mona, Brian, and their beloved but mysterious landlady, Mrs. Madrigal, his iconic San Francisco saga comes home as a momentous new musical from the Tony Award–winning creators of Avenue Q (librettist Jeff Whitty and director Jason Moore) and the musical minds behind the glam-rock phenomenon Scissor Sisters (composers Jake Shears and John Garden). A.C.T.'s world-premiere musical adaptation of Tales of the City unleashes an exuberant celebration of the irrepressible spirit that continues to define our City by the Bay."
For more information and to purchase tickets, contact the A.C.T. Box Office at (415) 749-2228 or visit the A.C.T. website at www.act-sf.org.
http://www.playbill.com/news/article/151447-Tales-of-the-City-Is-Now-an-Extended-Hometown-Hit-at-San-Franciscos-ACT
02 Jun 2011
The San Francisco-set musical Tales of the City, based on Armistead Maupin's novels, will get additional performances July 12-24 due to demand at American Conservatory Theater in the City by the Bay.
The world-premiere musical prompted the largest advance sale in A.C.T.'s history prior to its first preview performance on May 18 and has continued to break sales records leading to the June 1 opening. Variety gave the show an encouraging review.
The added performances are July 12-24: 8 PM performances Tuesdays through Sundays (Sunday, July 17 performance is at 7 PM) and 2 PM matinees on July 13, 16, 23, 24. American Conservatory Theater is at 415 Geary Street in San Francisco.
According to A.C.T., "Three decades after Armistead Maupin mesmerized millions with his daily column in the city's newspapers, detailing the lives and (multiple) loves of Mary Ann, Mouse, Mona, Brian, and their beloved but mysterious landlady, Mrs. Madrigal, his iconic San Francisco saga comes home as a momentous new musical from the Tony Award–winning creators of Avenue Q (librettist Jeff Whitty and director Jason Moore) and the musical minds behind the glam-rock phenomenon Scissor Sisters (composers Jake Shears and John Garden). A.C.T.'s world-premiere musical adaptation of Tales of the City unleashes an exuberant celebration of the irrepressible spirit that continues to define our City by the Bay."
For more information and to purchase tickets, contact the A.C.T. Box Office at (415) 749-2228 or visit the A.C.T. website at www.act-sf.org.
http://www.playbill.com/news/article/151447-Tales-of-the-City-Is-Now-an-Extended-Hometown-Hit-at-San-Franciscos-ACT
SFist Reviews: 'Armistead Maupin's Tales of the City' at A.C.T.
By Jay Barmann in Arts+Events on June 2, 2011 4:20 PM
It's not often that San Francisco gets to see a potentially Broadway-bound new musical have its world premiere here, and when it's a musical about San Francisco based on a beloved serial that first appeared in the Chronicle in the 70s, well, that's a major aligning of the musical theater stars.
We'll start with the music. Don't get us wrong; it's pretty good. There is a bevy of disco-influenced writing, a ton of lovely melodies and some pretty themes. But there are remarkably few satisfying hooks and stirring ensemble numbers. There are three great and satisfying songs that show off Jake Shears' and John Garden's collaborative musical talent: "Atlantis" and "Mary Ann" are both showstoppers in the first act, but both feel a little short, and even shorter is the would-be closing number "No Apologies," which is a great song we wish we had more of. But we'll get back to the somewhat truncated ending moments in a minute. A couple of other songs "Love Comes Running," and "Seeds and Stems" were solid ballads, but we were left with an impression of a lot of disposable music that Shears and Garden likely struggled to shoe-horn into the needs of the play. Overall it feels as though the score is in a second draft, with some clunkier, storytelling-type songs that need rewriting, and some filler numbers that could probably be cut to allow for some slowdowns elsewhere.
The set is one of the best and most versatile we've seen constructed in Bay Area theater, with three levels of interconnected wooden platforms and stairs, all built to look like the warren of walkways in a big San Francisco apartment house like 28 Barbary Lane. And Jason Moore's direction is fast-paced and nuanced at times, and he's clearly shown the performers how to have fun in every scene.
The cast comprises a talented and professional bunch of performers, most of whom were imported from New York. Betsy Wolfe plays central protagonist Mary Ann Singleton, and she most recently appeared in the Tony-nominated Everyday Rapture on Broadway. She has a great voice and excellent comic timing, and cuts a believably innocent and Midwestern profile in this role. She's also a plucky member of the ensemble, and shares some of her best moments on stage with others, like the adorably limber and sympathetic Wesley Taylor as Michael "Mouse" Tolliver, the solid and confident Patrick Lane as Brian, and the hilarious and versatile Mary Birdsong as Mona, who steals the show multiple times in song, dance, and line delivery. Most vital to the casting choices of course was the character of Anna Madrigal, and in this production, Broadway vet Judy Kaye does an incredible job of giving a soulful and empathetic voice to this iconic woman.
We were also amused and delighted by supporting performers Julie Reiber as affable flight attendant Connie (notably played by Parker Posey in the PBS series); Kathleen Elizabeth Monteleone as DeDe Halcyon-Day; the handsome Andrew Samonsky as Beauchamp Day (though Beauchamp's role in the story has been much reduced); Pamela Myers as the elder, drunk Mrs. Halcyon; Diane J. Findlay as the crassly pragmatic Mother Mucca; and Stuart Marland's multiple funny turns in the ensemble.
We have very little to criticize in Jeff Whitty's clever and witty condensation of a ton of material into two acts that come in under three hours (if you subtract intermission). A second act protest scene encouraging voter absenteeism in the wake of Watergate, and a brief appearance by Anita Bryant, stand out as the sole time markers in the script and we wish there were a few more. Some editing will likely occur as the show evolves, and we'd recommend trimming some of the awkwardness surrounding Mary Ann and her relationship to Norman — the character who tries to blackmail Edgar Halcyon — and the choice to have him become Mary Ann's first real steady boyfriend in S.F. (which was not part of the original books) feels a bit forced. This ultimately leads into the final climactic "No Apologies" number, a song that's meant to sum up and solve Mary Ann's growing cynicism and loss of faith in humanity, and her acceptance of the problematic freedoms of bohemian life in general. It's also a song about San Francisco and its vigorous embrace of personal freedom, no matter where that leads, and that's an idea that holds some more potential than the song has currently realized we think. This perhaps gets at some larger ideas that Maupin himself didn't care to grapple with in his original writing, and which could make this play, and the music, all the more interesting to a broader audience if it were more fleshed out.
Yes, it's a story about newfound freedoms, equality, sex, family, class differences, and political awakening. But it's mostly a personal story about a beloved set of quirky characters, and that was all Maupin ever seemed to want it to be, with a few nods to the political thrown in. For this to be a great show with national appeal, we'd love to see it break down a few more of the limitations of the source material, and come alive as more than just an amusing period piece, and for the music to find a bit more of its soul. It's not quite there yet, but it's still an enjoyable romp in Atlantis, ca. 1976, and one of the best things we've seen A.C.T. pull off in eons.
Tales of the City has just been extended through July 24 due to popular demand.
http://sfist.com/2011/06/02/sfist_reviews_armistead_maupins_tal.php
It's not often that San Francisco gets to see a potentially Broadway-bound new musical have its world premiere here, and when it's a musical about San Francisco based on a beloved serial that first appeared in the Chronicle in the 70s, well, that's a major aligning of the musical theater stars.
We'll start with the music. Don't get us wrong; it's pretty good. There is a bevy of disco-influenced writing, a ton of lovely melodies and some pretty themes. But there are remarkably few satisfying hooks and stirring ensemble numbers. There are three great and satisfying songs that show off Jake Shears' and John Garden's collaborative musical talent: "Atlantis" and "Mary Ann" are both showstoppers in the first act, but both feel a little short, and even shorter is the would-be closing number "No Apologies," which is a great song we wish we had more of. But we'll get back to the somewhat truncated ending moments in a minute. A couple of other songs "Love Comes Running," and "Seeds and Stems" were solid ballads, but we were left with an impression of a lot of disposable music that Shears and Garden likely struggled to shoe-horn into the needs of the play. Overall it feels as though the score is in a second draft, with some clunkier, storytelling-type songs that need rewriting, and some filler numbers that could probably be cut to allow for some slowdowns elsewhere.
The set is one of the best and most versatile we've seen constructed in Bay Area theater, with three levels of interconnected wooden platforms and stairs, all built to look like the warren of walkways in a big San Francisco apartment house like 28 Barbary Lane. And Jason Moore's direction is fast-paced and nuanced at times, and he's clearly shown the performers how to have fun in every scene.
The cast comprises a talented and professional bunch of performers, most of whom were imported from New York. Betsy Wolfe plays central protagonist Mary Ann Singleton, and she most recently appeared in the Tony-nominated Everyday Rapture on Broadway. She has a great voice and excellent comic timing, and cuts a believably innocent and Midwestern profile in this role. She's also a plucky member of the ensemble, and shares some of her best moments on stage with others, like the adorably limber and sympathetic Wesley Taylor as Michael "Mouse" Tolliver, the solid and confident Patrick Lane as Brian, and the hilarious and versatile Mary Birdsong as Mona, who steals the show multiple times in song, dance, and line delivery. Most vital to the casting choices of course was the character of Anna Madrigal, and in this production, Broadway vet Judy Kaye does an incredible job of giving a soulful and empathetic voice to this iconic woman.
We were also amused and delighted by supporting performers Julie Reiber as affable flight attendant Connie (notably played by Parker Posey in the PBS series); Kathleen Elizabeth Monteleone as DeDe Halcyon-Day; the handsome Andrew Samonsky as Beauchamp Day (though Beauchamp's role in the story has been much reduced); Pamela Myers as the elder, drunk Mrs. Halcyon; Diane J. Findlay as the crassly pragmatic Mother Mucca; and Stuart Marland's multiple funny turns in the ensemble.
We have very little to criticize in Jeff Whitty's clever and witty condensation of a ton of material into two acts that come in under three hours (if you subtract intermission). A second act protest scene encouraging voter absenteeism in the wake of Watergate, and a brief appearance by Anita Bryant, stand out as the sole time markers in the script and we wish there were a few more. Some editing will likely occur as the show evolves, and we'd recommend trimming some of the awkwardness surrounding Mary Ann and her relationship to Norman — the character who tries to blackmail Edgar Halcyon — and the choice to have him become Mary Ann's first real steady boyfriend in S.F. (which was not part of the original books) feels a bit forced. This ultimately leads into the final climactic "No Apologies" number, a song that's meant to sum up and solve Mary Ann's growing cynicism and loss of faith in humanity, and her acceptance of the problematic freedoms of bohemian life in general. It's also a song about San Francisco and its vigorous embrace of personal freedom, no matter where that leads, and that's an idea that holds some more potential than the song has currently realized we think. This perhaps gets at some larger ideas that Maupin himself didn't care to grapple with in his original writing, and which could make this play, and the music, all the more interesting to a broader audience if it were more fleshed out.
Yes, it's a story about newfound freedoms, equality, sex, family, class differences, and political awakening. But it's mostly a personal story about a beloved set of quirky characters, and that was all Maupin ever seemed to want it to be, with a few nods to the political thrown in. For this to be a great show with national appeal, we'd love to see it break down a few more of the limitations of the source material, and come alive as more than just an amusing period piece, and for the music to find a bit more of its soul. It's not quite there yet, but it's still an enjoyable romp in Atlantis, ca. 1976, and one of the best things we've seen A.C.T. pull off in eons.
Tales of the City has just been extended through July 24 due to popular demand.
http://sfist.com/2011/06/02/sfist_reviews_armistead_maupins_tal.php
Tales Of The City Debuts (Video)
Written by Instinct Staff
Thursday, 02 June 2011
The world premiere stage musical of the beloved book series Tales Of The City is taking San Francisco by storm! Catch the first glimpse of video from the recently debuted show and get the news on its new extended run, after the jump.
Armistead Maupin's Tales Of The City floated around theater-queen dreams for decades, but after a nearly five-year effort the musical has made its world premiere is San Francisco. And the reception has been so great that the theater has already extended the play's run—again!
Here's our first glimpse of the show via a short teaser, and you can always revisit what the man behind the music, Scissor Sisters frontman Jake Shears, had to say about the creation of the play in his Instinct Soapbox, here!
Catch Tales Of The City before it closes in S.F. on July 24. Ticket details can be found here.
http://instinctmagazine.com/blog/tales-of-the-city-debuts-video?directory=100011
Thursday, 02 June 2011
The world premiere stage musical of the beloved book series Tales Of The City is taking San Francisco by storm! Catch the first glimpse of video from the recently debuted show and get the news on its new extended run, after the jump.
Armistead Maupin's Tales Of The City floated around theater-queen dreams for decades, but after a nearly five-year effort the musical has made its world premiere is San Francisco. And the reception has been so great that the theater has already extended the play's run—again!
Here's our first glimpse of the show via a short teaser, and you can always revisit what the man behind the music, Scissor Sisters frontman Jake Shears, had to say about the creation of the play in his Instinct Soapbox, here!
Catch Tales Of The City before it closes in S.F. on July 24. Ticket details can be found here.
http://instinctmagazine.com/blog/tales-of-the-city-debuts-video?directory=100011
June 2, 2011
OUT in America
A new PBS special explores gay life from the city to the heartland
Posted by Natalie Hope McDonald on 6/2/2011 at 9:31AM
Tales of the City author Armistead Maupin, country star Chely Wright and humorist Kate Clinton are all featured in a new special to be broadcast on PBS June 8 (8 p.m.). The one-hour special OUT in America – directed by Emmy winner Andrew Goldberg - spotlights famous and ordinary LGBT folks around the country, discussing what it means to be gay in both the heartland and big cities like New York and San Francisco.
"The first of its kind, OUT in America is a more realistic portrait of LGBT life than almost anything seen on TV before," says Goldberg, who has also recently produced Jerusalem: Center of the World. "So often, media coverage of LGBT life in America is polarizing or exploitative of controversy and homophobia, or alternatively LGBT individuals are presented as caricatures of a stereotype. OUT in America however focuses on empowerment, diversity and relationships."
The LGBT people featured in the special weaves together diverse stories about everything from first crushes and coming out to self-discovery, community and pride in time for Gay Pride month.
In addition to some of the star power featured in the film, other folks are also included – like Puerto Rico's first openly gay political candidate, a transgender police officer, a Muslim lesbian, a gay rancher, a queer prom organizer, West Point grad, drag queens, a great-grandmother and a biracial couple who have been together for almost 50 years.
Check out a preview:
Watch the full episode. See more PBS Specials.
http://blogs.phillymag.com/gphilly/2011/06/02/out-in-america/
Posted by Natalie Hope McDonald on 6/2/2011 at 9:31AM
Tales of the City author Armistead Maupin, country star Chely Wright and humorist Kate Clinton are all featured in a new special to be broadcast on PBS June 8 (8 p.m.). The one-hour special OUT in America – directed by Emmy winner Andrew Goldberg - spotlights famous and ordinary LGBT folks around the country, discussing what it means to be gay in both the heartland and big cities like New York and San Francisco.
"The first of its kind, OUT in America is a more realistic portrait of LGBT life than almost anything seen on TV before," says Goldberg, who has also recently produced Jerusalem: Center of the World. "So often, media coverage of LGBT life in America is polarizing or exploitative of controversy and homophobia, or alternatively LGBT individuals are presented as caricatures of a stereotype. OUT in America however focuses on empowerment, diversity and relationships."
The LGBT people featured in the special weaves together diverse stories about everything from first crushes and coming out to self-discovery, community and pride in time for Gay Pride month.
In addition to some of the star power featured in the film, other folks are also included – like Puerto Rico's first openly gay political candidate, a transgender police officer, a Muslim lesbian, a gay rancher, a queer prom organizer, West Point grad, drag queens, a great-grandmother and a biracial couple who have been together for almost 50 years.
Check out a preview:
Watch the full episode. See more PBS Specials.
http://blogs.phillymag.com/gphilly/2011/06/02/out-in-america/
'Armistead Maupin's Tales of the City' review
Robert Hurwitt, Chronicle Theater Critic
Thursday, June 2, 2011
Armistead Maupin's Tales of the City: Musical. Book by Jeff Whitty. Music and lyrics by Jake Shears and John Garden. Directed by Jason Moore. Through July 10. American Conservatory Theater, 415 Geary St., San Francisco. Two hours, 45 minutes. $40-$127, subject to change. (415) 749-2228, www.act-sf.org.
Judy Kaye is a delightfully down-to-earth Anna Madrigal, spicing her anything-goes bohemianism with tantalizing twinges of a troublesome secret. Betsy Wolfe is a bright Mary Anne Singleton, Wesley Taylor a beguiling Michael "Mouse" Tolliver, Mary Birdsong a vibrant Mona Ramsey - and that just scratches the surface of the many deftly sketched characters onstage.
The creators of "Armistead Maupin's Tales of the City," the much-anticipated musical that opened Wednesday at American Conservatory Theater, haven't tried to squeeze in all the characters, incidents, secrets, coincidences and sly commentary from Maupin's first two novels. Not even the TV series could do that. But adapter Jeff Whitty and his collaborators have adopted enough of the serial's interconnected plots and people to fill two musicals. Or more.
That's too much of a good thing at times, not enough at others and just right at many points in the almost three-hour show. As seen at Tuesday's critics' preview, ACT's world premiere is a blithe, comic and pleasantly tuneful celebration of sex, drugs and all kinds of coming out in freewheeling, pre-AIDS San Francisco circa 1976.
It hits a richly rewarding high point in Taylor's poignant delivery of a lovely setting of Mouse's coming-out letter to his homophobic parents. But if it has New York aspirations, as implied by the many Broadway credits behind and in it, it needs to hone its storytelling and develop a more distinctive musical voice. The cast is fine as it is.
It's still a pretty impressive achievement. Whitty, who wrote the ever-popular "Avenue Q" (and Broadway-bound "Bring It On"), has done a great job of boiling down the many stories to a few primary ones and retaining the empathy and comic flair of Maupin's serial.
He's also rearranged incidents to enhance the central role of Kaye's Madrigal, her big secret and her romance with dying ad executive Edgar Halcyon (a crusty-buoyant Richard Poe).
Longtime "Tales" fans will miss some characters, but more get cameos than you'd expect. Director Jason Moore ("Avenue Q," "Shrek: The Musical") and choreographer Larry Keigwin keep highlighting the individuality of the many players on a many-leveled set (by Douglas W. Schmidt) that looks like a warren of Russian Hill back staircases.
But Whitty plays down the blossoming of Wolfe's central Mary Anne, making her a bit monochromatic (the too delayed appearance of Manoel Felciano as her creepy lover Norman doesn't help). He also reduces Birdsong's vital Mona to plot-connective tissue between Madrigal, Mouse and Diane J. Findlay's tough Mother Mucca (a showstopper on the brothel breakout "Ride 'em Hard"). Mouse's relationship with Josh Breckenridge's fine Jon Fielding could be better developed as well.
The songs, by first-time musical writers Jake Shears and John Garden of the Scissor Sisters, are performed with terrific verve and talent by the entire cast and music director Cian McCarthy's hot septet. A country-Broadway "Homosexual Convalescent Center," drag-show Anita Bryant protest, Birdsong's in-your-face "Crotch" and Kathleen Elizabeth Monteleone's torchy DeDe Halcyon-Day numbers are particular delights.
But none of the songs are particularly memorable and some could be cut. Shears and Garden's period-pastiche approach - drawing on everything from "Hair" and disco to soul, bubble-gum pop and overblown ballads - doesn't provide the musical with a sound it can call its own nor evoke the period very well.
It's the dance styles sampled by Keigwin's choreography and Beaver Bauer's memory lane of everyday and outlandish costumes that bring back the '70s, mostly for the better. And the actors. Even when "Tales" meanders, Kaye's warm, vulnerable Madrigal and the company provide a pretty rich contact high.
Armistead Maupin's Tales of the City: Musical. Book by Jeff Whitty. Music and lyrics by Jake Shears and John Garden. Directed by Jason Moore. Through July 10. American Conservatory Theater, 415 Geary St., San Francisco. Two hours, 45 minutes. $40-$127, subject to change. (415) 749-2228, www.act-sf.org.
http://www.sfgate.com/cgi-bin/article.cgi?f=/c/a/2011/06/02/DD5S1JMOKL.DTL&type=performance
Thursday, June 2, 2011
Armistead Maupin's Tales of the City: Musical. Book by Jeff Whitty. Music and lyrics by Jake Shears and John Garden. Directed by Jason Moore. Through July 10. American Conservatory Theater, 415 Geary St., San Francisco. Two hours, 45 minutes. $40-$127, subject to change. (415) 749-2228, www.act-sf.org.
Judy Kaye is a delightfully down-to-earth Anna Madrigal, spicing her anything-goes bohemianism with tantalizing twinges of a troublesome secret. Betsy Wolfe is a bright Mary Anne Singleton, Wesley Taylor a beguiling Michael "Mouse" Tolliver, Mary Birdsong a vibrant Mona Ramsey - and that just scratches the surface of the many deftly sketched characters onstage.
The creators of "Armistead Maupin's Tales of the City," the much-anticipated musical that opened Wednesday at American Conservatory Theater, haven't tried to squeeze in all the characters, incidents, secrets, coincidences and sly commentary from Maupin's first two novels. Not even the TV series could do that. But adapter Jeff Whitty and his collaborators have adopted enough of the serial's interconnected plots and people to fill two musicals. Or more.
That's too much of a good thing at times, not enough at others and just right at many points in the almost three-hour show. As seen at Tuesday's critics' preview, ACT's world premiere is a blithe, comic and pleasantly tuneful celebration of sex, drugs and all kinds of coming out in freewheeling, pre-AIDS San Francisco circa 1976.
It hits a richly rewarding high point in Taylor's poignant delivery of a lovely setting of Mouse's coming-out letter to his homophobic parents. But if it has New York aspirations, as implied by the many Broadway credits behind and in it, it needs to hone its storytelling and develop a more distinctive musical voice. The cast is fine as it is.
It's still a pretty impressive achievement. Whitty, who wrote the ever-popular "Avenue Q" (and Broadway-bound "Bring It On"), has done a great job of boiling down the many stories to a few primary ones and retaining the empathy and comic flair of Maupin's serial.
He's also rearranged incidents to enhance the central role of Kaye's Madrigal, her big secret and her romance with dying ad executive Edgar Halcyon (a crusty-buoyant Richard Poe).
Longtime "Tales" fans will miss some characters, but more get cameos than you'd expect. Director Jason Moore ("Avenue Q," "Shrek: The Musical") and choreographer Larry Keigwin keep highlighting the individuality of the many players on a many-leveled set (by Douglas W. Schmidt) that looks like a warren of Russian Hill back staircases.
But Whitty plays down the blossoming of Wolfe's central Mary Anne, making her a bit monochromatic (the too delayed appearance of Manoel Felciano as her creepy lover Norman doesn't help). He also reduces Birdsong's vital Mona to plot-connective tissue between Madrigal, Mouse and Diane J. Findlay's tough Mother Mucca (a showstopper on the brothel breakout "Ride 'em Hard"). Mouse's relationship with Josh Breckenridge's fine Jon Fielding could be better developed as well.
The songs, by first-time musical writers Jake Shears and John Garden of the Scissor Sisters, are performed with terrific verve and talent by the entire cast and music director Cian McCarthy's hot septet. A country-Broadway "Homosexual Convalescent Center," drag-show Anita Bryant protest, Birdsong's in-your-face "Crotch" and Kathleen Elizabeth Monteleone's torchy DeDe Halcyon-Day numbers are particular delights.
But none of the songs are particularly memorable and some could be cut. Shears and Garden's period-pastiche approach - drawing on everything from "Hair" and disco to soul, bubble-gum pop and overblown ballads - doesn't provide the musical with a sound it can call its own nor evoke the period very well.
It's the dance styles sampled by Keigwin's choreography and Beaver Bauer's memory lane of everyday and outlandish costumes that bring back the '70s, mostly for the better. And the actors. Even when "Tales" meanders, Kaye's warm, vulnerable Madrigal and the company provide a pretty rich contact high.
Armistead Maupin's Tales of the City: Musical. Book by Jeff Whitty. Music and lyrics by Jake Shears and John Garden. Directed by Jason Moore. Through July 10. American Conservatory Theater, 415 Geary St., San Francisco. Two hours, 45 minutes. $40-$127, subject to change. (415) 749-2228, www.act-sf.org.
http://www.sfgate.com/cgi-bin/article.cgi?f=/c/a/2011/06/02/DD5S1JMOKL.DTL&type=performance
Channeling Armistead Maupin
Jeff Whitty on bringing 'Tales of the City' to the stage
by Richard Dodds
The man most responsible for transforming Armistead Maupin's Tales of the City into a musical was only five years old when the serialized story began its newspaper run in 1976. But Jeff Whitty, a Tony Award-winner for Avenue Q, doesn't look back on those days as either nostalgia or a benighted period when gays and lesbians had scant social acceptance.
"In a weird way, it feels like we've taken a huge step backwards," Whitty said during a break in a fine-tuning rehearsal before one of the preview performances at American Conservatory Theater. "In many ways, Tales of the City feels like my ideal possible future. There's almost something utopian about it."
It's been more than five years since Whitty convinced author Maupin that his vision for a musicalized Tales, which had already had several previous unsuccessful startups, was worth his trust. "I feel like I'm sort of channeling Maupin as if he were a musical book writer, and he and I share a certain sensibility so sometimes I can't remember if the dialogue is Armistead or if it's me."
Maupin, an iconic SF figure, was writing about contemporaneous life when he began the Tales series in the 1970s. The initial impetus was a possible feature story on the Marina Safeway's popularity as a heterosexual meeting ground. But in the Tales series, Maupin introduced characters not only straight, but gay, lesbian, transgender, black, white, filthy rich, dirt poor, and even a whorehouse madam.
"One of the things Armistead has issues with is that bookstores always put Tales of the City in the gay fiction section even though more of the characters are straight," Whitty said. "I think the reason is that he put gay characters on an equal footing with the straight ones. They're just as flawed, funny, interesting, damaged, and yearning as straight people, but I think it was such a shock that it overrides what people see in the other characters."
At times, Whitty himself gets frustrated at being filed into a gay niche. "But then again, I don't want to be like everybody else. I think straight people need to get their shit together and realize how much we bring to the table."
Maupin's newspaper columns evolved into a series of novels, and Whitty is using Tales of the City and More Tales of the City for his libretto. "We do stick with what works in musical theater," Whitty said of the structure of the piece. "But at the same time, what makes Tales different is the multi-storyline, and I didn't even know for five years until the first preview if that would work."
Though the Tales of the City series is often cast in gay terms, the lead character, Mary Ann Singleton (Betsy Wolfe), is a young straight woman just arrived in San Francisco with the intention of reinventing her life. Her quest is accelerated when she rents an apartment on Barbary Lane, modeled on Macondray Lane, where landlady Mrs. Madrigal (Judy Kaye) is a mysterious but motherly type who believes in the affirmative properties of pot, and whose tenants notably include Michael "Mouse" Tolliver (Wesley Taylor), who is exploring his gay sexuality with gleeful abandon. There are more interweaving subplots and characters too numerous to mention here.
The first preview came in at three hours and 20 minutes, and Whitty expected the show to be running at two hours and 55 minutes by opening night. "For me, it's a blessing to have to cut the show down," Whitty said, "because the goal is always to stay one step ahead of the audience."
Since he was the prime instigator of the project, Whitty was in the position to choose his collaborators. For director, he asked Jason Moore, with whom he so successfully collaborated on Avenue Q. For the songs, he strayed from Broadway veterans to ask flamboyantly out Jake Shears, songwriter and lead singer for the Scissor Sisters, to write the score, and Shears in turn brought in bandmate John Garden.
"One of the incredible things about working with Jake and John is that the Scissor Sisters are such chameleons," Whitty said. "If you listen to their albums, very often their songs will sound like they were written in the 70s, but it's still entirely fresh. These guys get under the hoods of the characters, and the fact that they're not from the musical theater has given them a certain degree of risk-taking that I'm not even sure they're aware of."
When Whitty roughed out his script, he indicated places where he thought a song would be appropriate, but he also worked backwards from the songwriters' passions. "They wrote a song called 'Paper Faces' for the end of the show, and it's a scorcher. For me it was about building backwards from the top of Act II to give Mary Ann justification to sing it. And Jake said he really wanted to write a song for the A-list gays in the book, and he turned it into 'Homosexual Convalescent Center,' which is this huge burst of energy in the middle of Act I."
While the high-profile producers of Rent and Avenue Q were associated with the project when it had a workshop at the O'Neill Theatre Center in 2009, according to Whitty, they amicably parted ways shortly thereafter. The entire $2.5 million budget – high for ACT, a pittance on Broadway – was raised locally by donors as opposed to investors.
"It was a mutual agreement to let us develop the show without commercial pressure," Whitty said. "Within 48 hours of them stepping off the project, [ACT Artistic Director] Carey Perloff had snapped us up. We wanted the show to be homegrown, and it's better for it."
The future of Tales of the City after its summer run at ACT is uncertain. "It would break my heart if this was the only shot it got," he said, "but that doesn't mean it has to head straight to Broadway. I just want it to have a life. People always look at me like, 'Oh, you're holding out on us' when I say that about the show's future."
In fact, after Tales is up and running, Whitty soon heads into production for a new musical based on the cheerleading movie Bring It On. It begins a tour in Los Angeles in November, and will play SF in December without a Broadway stop on the itinerary.
There was time for a final question before Whitty had to head back into rehearsals: Have you been sleeping well? "Not for the past few weeks, but that's what July and August are for."
http://www.ebar.com/arts/art_article.php?sec=theatre&article=745
by Richard Dodds
The man most responsible for transforming Armistead Maupin's Tales of the City into a musical was only five years old when the serialized story began its newspaper run in 1976. But Jeff Whitty, a Tony Award-winner for Avenue Q, doesn't look back on those days as either nostalgia or a benighted period when gays and lesbians had scant social acceptance.
"In a weird way, it feels like we've taken a huge step backwards," Whitty said during a break in a fine-tuning rehearsal before one of the preview performances at American Conservatory Theater. "In many ways, Tales of the City feels like my ideal possible future. There's almost something utopian about it."
It's been more than five years since Whitty convinced author Maupin that his vision for a musicalized Tales, which had already had several previous unsuccessful startups, was worth his trust. "I feel like I'm sort of channeling Maupin as if he were a musical book writer, and he and I share a certain sensibility so sometimes I can't remember if the dialogue is Armistead or if it's me."
Maupin, an iconic SF figure, was writing about contemporaneous life when he began the Tales series in the 1970s. The initial impetus was a possible feature story on the Marina Safeway's popularity as a heterosexual meeting ground. But in the Tales series, Maupin introduced characters not only straight, but gay, lesbian, transgender, black, white, filthy rich, dirt poor, and even a whorehouse madam.
"One of the things Armistead has issues with is that bookstores always put Tales of the City in the gay fiction section even though more of the characters are straight," Whitty said. "I think the reason is that he put gay characters on an equal footing with the straight ones. They're just as flawed, funny, interesting, damaged, and yearning as straight people, but I think it was such a shock that it overrides what people see in the other characters."
At times, Whitty himself gets frustrated at being filed into a gay niche. "But then again, I don't want to be like everybody else. I think straight people need to get their shit together and realize how much we bring to the table."
Maupin's newspaper columns evolved into a series of novels, and Whitty is using Tales of the City and More Tales of the City for his libretto. "We do stick with what works in musical theater," Whitty said of the structure of the piece. "But at the same time, what makes Tales different is the multi-storyline, and I didn't even know for five years until the first preview if that would work."
Though the Tales of the City series is often cast in gay terms, the lead character, Mary Ann Singleton (Betsy Wolfe), is a young straight woman just arrived in San Francisco with the intention of reinventing her life. Her quest is accelerated when she rents an apartment on Barbary Lane, modeled on Macondray Lane, where landlady Mrs. Madrigal (Judy Kaye) is a mysterious but motherly type who believes in the affirmative properties of pot, and whose tenants notably include Michael "Mouse" Tolliver (Wesley Taylor), who is exploring his gay sexuality with gleeful abandon. There are more interweaving subplots and characters too numerous to mention here.
The first preview came in at three hours and 20 minutes, and Whitty expected the show to be running at two hours and 55 minutes by opening night. "For me, it's a blessing to have to cut the show down," Whitty said, "because the goal is always to stay one step ahead of the audience."
Since he was the prime instigator of the project, Whitty was in the position to choose his collaborators. For director, he asked Jason Moore, with whom he so successfully collaborated on Avenue Q. For the songs, he strayed from Broadway veterans to ask flamboyantly out Jake Shears, songwriter and lead singer for the Scissor Sisters, to write the score, and Shears in turn brought in bandmate John Garden.
"One of the incredible things about working with Jake and John is that the Scissor Sisters are such chameleons," Whitty said. "If you listen to their albums, very often their songs will sound like they were written in the 70s, but it's still entirely fresh. These guys get under the hoods of the characters, and the fact that they're not from the musical theater has given them a certain degree of risk-taking that I'm not even sure they're aware of."
When Whitty roughed out his script, he indicated places where he thought a song would be appropriate, but he also worked backwards from the songwriters' passions. "They wrote a song called 'Paper Faces' for the end of the show, and it's a scorcher. For me it was about building backwards from the top of Act II to give Mary Ann justification to sing it. And Jake said he really wanted to write a song for the A-list gays in the book, and he turned it into 'Homosexual Convalescent Center,' which is this huge burst of energy in the middle of Act I."
While the high-profile producers of Rent and Avenue Q were associated with the project when it had a workshop at the O'Neill Theatre Center in 2009, according to Whitty, they amicably parted ways shortly thereafter. The entire $2.5 million budget – high for ACT, a pittance on Broadway – was raised locally by donors as opposed to investors.
"It was a mutual agreement to let us develop the show without commercial pressure," Whitty said. "Within 48 hours of them stepping off the project, [ACT Artistic Director] Carey Perloff had snapped us up. We wanted the show to be homegrown, and it's better for it."
The future of Tales of the City after its summer run at ACT is uncertain. "It would break my heart if this was the only shot it got," he said, "but that doesn't mean it has to head straight to Broadway. I just want it to have a life. People always look at me like, 'Oh, you're holding out on us' when I say that about the show's future."
In fact, after Tales is up and running, Whitty soon heads into production for a new musical based on the cheerleading movie Bring It On. It begins a tour in Los Angeles in November, and will play SF in December without a Broadway stop on the itinerary.
There was time for a final question before Whitty had to head back into rehearsals: Have you been sleeping well? "Not for the past few weeks, but that's what July and August are for."
http://www.ebar.com/arts/art_article.php?sec=theatre&article=745
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