Gregory G. Allen's Blog, page 7

Greed, Deceit, Betrayal On Broadway

In spring of 1984, I was in a high school production of The Little Foxes by Lillian Hellman and 33 years later I was finally able to see it on Broadway brought to us by the always wonderful Manhattan Theatre Club. What a great production it is! Every technical element in the production is perfectly fitting of the family drama set in 1900. From the incredible set by Scott Pask to the period costumes by Jane Greenwood to the lighting by Justin Townsend that gives us three completely different days...all in light and shadows.
The show first ran on Broadway in the 30s and that entire cast (except Tallulah Bankhead in the lead role of Regina Giddens) did the film version...that role went to Bette Davis. I read that Ms. Davis changed the character of the sister fighting her brothers and husband in this story of greed and power after seeing Ms. Bankhead's incredible performance on stage. Regina had been played more as a victim trying to get her own when it first came out, yet Ms. Davis created a cold and stern woman in the role and ultimately, that's what people came to know the character to be.
Linney as Birdie & Nixon as ReginaIn MTC returning director Daniel Sullivan's production, Regina isn't so much as cold as she is sly and calculating - sly like a fox. She attempts an air of kindness to achieve want she wants - at all cost. It's an interesting take except that her brother Ben mentions towards the end of the play she should try more kindness to get what she wants...hmmm....isn't she doing that with the constant 'grit behind a smile' performance that she is giving? I bring this up, as I'm not sure how Regina is always played in this production. Producers have decided to split the role. At some performances Laura Linney plays Regina while Cynthia Nixon plays her much more frail, alcoholic sister-in-law, Birdie. And then other performances, they switch each witnessing what the other does in each role every night. I saw Cynthia play Regina. She was stoic, dignified, and a woman slightly on the edge noticing she could lose it all at any moment. At first I was uncertain of this portrayal, but she absolutely won me over. Ms. Linney was incredible as Birdie. She layered Birdie's normal mousy portrayal with a wonderful array of choices. While Birdie is more of a supporting role - it's a juicy one with a monologue worthy of a Tony nomination...for sure. I love both of these actresses and was so glad to get to see them. (Now I'm wondering if I will have time to return and see them in the other roles.)
Set Designer Scott Pask's instragram photo of the setThe rest of the cast is also so wonderful - including the brothers that you just want to hate. Michael McKean as the older brother Ben Hubbard transforms into a true southerner in the role. Darren Goldstein with an over bloated ego the moment we see him unravels as Oscar. These two have some wonderful moments with sister Regina. We don't see Richard Thomas until act 2 when Regina's sick husband Horace comes home, but what a force he is on the stage. A sick man, still in charge of his destiny, but with a love in his heart - well, at least for his daughter Alexandra. Francesca Carpanini plays that role and along with Michael Benz as Leo represent the younger generation from 1900 (both making their Broadway debuts). One that wants to be like the family and one that doesn't. I love Carolina Stefanie Clay as Addie and Charles Turner as Cal. Every moment they are onstage, they ground the play in a way the family members caught up in deceit simply can't. It was also great to see David Alford on stage as Mr. Marshall as I only know him from his TV show. 
The play may be an older one, but the family drama could be playing out today. The Hubbard family represents those men that constantly need to climb the financial ladder no matter the cost. And there is Regina...fighting every step of the way to have women viewed on the same playing field as men. The world hasn't changed much in over 100 years.
This is a definite must see on the list of plays for this season even with it's three acts and 2:40 running time - the time flies by! There are many revival choices this season, but from the ones I've seen...this one is placed at the top. (Now I'm anxiously wondering how the Tony committee will view the two women when it comes to nominations for June.)

Texas Tale Delivers Powerful Punch in Short Film

Those that read my blog know how much I love film - all aspects of it. There is a new short film which is powerful, beautifully shot, incredible direction, writing, acting …I could go on and on about FAR FROM THE TREE which will have its premiere at the USA Film Festival on April 30th in Dallas, Texas. 
I had a virtual sit-down with the director, screenwriter, lead actress and producers of the film to allow them to ‘go on about it’ themselves. Watch the teaser HERE first.
Greg: First off, thank you all for joining me on my blog. Carina Rush & Cheryl Allison, what made you start WOW Films?
Carina: WOW Films was really Cheryl’s brain child, and she asked me to come onboard as a producing partner once we felt we were moving forward with FFTT.
Cheryl: I began production on a documentary called BECOMING ME over a year ago. I started WOW Films in order to produce that film under my own production company. I'm actually co-directing that one with Dave Thomas who directed FFTT. 
Greg: Dave Thomas, since she brought you up - what drew you to this piece?
Dave: The first draft of the script arrived just as I was boarding a flight in Detroit. I was thrilled to lose myself in David’s small town story. In fact, as a director, born and raised in a small southern town it was like going home. I knew this place. I could hear their voices. I could feel the sticky humid breeze. I could smell the cinnamon & apples simmering on the stove. And by the time we landed in NYC, I was in love with this short story. I felt like we had the opportunity to connect with audiences on a deep emotional level and, in the end, deliver a strong emotional punch on a very important topic. 
Greg: I just sensed this film again in that answer. How did you go about putting your team team for this film? Carina, Cheryl, David, Angie, Dave
Carina: Cheryl was completely in charge of the casting and the crew came together based on our prior professional connections and recommendations from friends in the business. We also wanted to hire Texas local talent as much as possible since we filmed outside of Dallas. We had an amazing team, and everyone really worked well together under the pressure of an intense deadline.
Cheryl: I had been looking for a project that I could act in with Carina’s son (my godson) Gabriel Rush. David Kear is another life long friend of mine and an amazing writer. I asked him if he had any scripts dealing with a mother/son dynamic. He said he had been working on a novel along those lines for a couple of years. I asked him if he would try to write a short script. The rest is history! 
I called Dave Thomas, an incredible director as well as dear friend and asked him to direct. We brought in Oren Soffer as our Director of Photography as I loved his work. I cast Michael Hunsaker who I have worked with on stage in NY and most recently we did a production of Les Miserable together at Casa Manana. I then hired Stephen Newton and his sister Anna Newton to play younger versions of myself and Michael. The role of Aunt Dot was basically written for the incredible actress Angie Bolling. When we found out she was available, we enhanced the role to utilize her talent. Last but not least....music! Dave Thomas and I had discussed the feel of the music we wanted for the film. We were lucky enough to be given the rights to use all Moby music.
Greg: I thought it was AMAZING you got Moby’s music for it. David Kear, where did the idea of the story come from?
David: Like most of my writing, it coalesced over time from various images and themes that I had been thinking about for some time. What I wanted to explore was what could strain the relationship between a mother and her child, and how they might confront and overcome that strain. I wanted to consider how a mother who loves her child deals with something that was neither of their fault but that nevertheless creates a boundary between them. How much will a parent sacrifice for their child, and what demons exorcise? What price will a parent pay, what suffering endure, and what pain cause, to be whole for their child.
Greg: Tell us about Abbie, the mother that Cheryl plays (yes folks…Cheryl is doing double duty as lead actress and a producer).
Angie Bolling & Cheryl AllisonDavid: I developed Abbie to be a woman at a crossroads, a strong woman, who remained resilient but was haunted by the past. All my life, I've been surrounded by strong southern women who have stories to tell but seldom tell them, because the silence is more bearable than the pain. Abbie does not represent one specific woman from my life who faced similar experience. Rather, she represents far too many women with similar circumstances, or any mother whom life has struck a blow that has shaken her bond with her child. The story of Abbie and Evan developed as a way to explore the depth of that pain and hopefully dig through it to something more.
Greg: Cheryl - Once again you play a mom, but this mom is very different from previous ones you’ve played - how did you "find" her? 
Cheryl: In this case, I read many stories about sexual assault, talked with some people about their personal experiences. I then read the script and dissect it. I write down how my character is described, what others in the story say about her. Then the most useful preparation I do is I write a backstory for my character. I am very method, so my backstory was 7 pages single spaced. This process really helps me slip into her skin easily and quickly when on set. 
Greg: Dave and David - Was it hard to get the story across in such a short period of time in a 16 minute film?
Dave: Everything's has its challenges - Long, short, extremely short. And having spent years as a agency director, I was well acquainted with ‘short’.  You know, It’s funny. Whenever I have to cut things down, I always think of old Mr. Bailey who lived down the road when I was growing up. Often I’d see him sitting around with his pocketknife ‘whittling’ on a piece of wood – “Ya know son, It’s sorta like life, just ask yourself – ‘what’s really important here?’ – then whittle the rest away.”
Greg: Good advice from Mr. Bailey. (I’m using that now on this blog because trust me - you all had amazing and well thought out answers!)
David: I'm used to working in the novel genre, where--quite frankly--you get more word count to work with, and where the narrative drives the reader's experience. FFTT was my first screenplay, and I quickly learned that you can't write lengthy paragraphs of description or long sections of dialogue. In my editorial work, I'm accustomed to making writers write to a particular length, so I set my boundaries at 20 pages, and then said to myself, "OK, you now have to make this whole story fit in these pages." I focused on what I wanted a scene to accomplish, not necessarily what I wanted an actor to say or do. I wanted to establish this kind of relationship, I wanted to reveal this piece of information, I wanted to foreshadow this series of events, I wanted to let the audience see this part of the character. Once I had established those elements of a sequence, the question then became "how can I accomplish all of those things economically, powerfully, and visually?" Through Dave's direction and Joel's editing, the story at 16 minutes is much stronger than my original story at 20 minutes.
Greg: LOVE that process, David! Dave - Do you approach working on a short film differently from a feature, with the cast/crew/etc?
Dave: For sure! I come from a Commercial Directing background. So, I’m used to the idea
of ‘storytelling’ taking on many different shapes and forms. With FFTT, our shooting schedule would be very short – just 3 days (in feature films you get weeks to create a nuanced creative environment.) So I embraced the idea of using local cast and crew. Not just because it would make since logistically and financially, but because it would make since creatively. The fantastic local Texas crew brought something a New York crew couldn’t – authenticity. The accent, the food, and uniquely southern gestures were abundant. So, similar to feature film sets like ‘Lincoln’, where the cast and crew dressed in period costume to create an authentic mood on set, our set was filled with locals who completely infused it with authentic ‘southern charm’.  

Greg: Dave touched on something there. The story FEELS like Texas - from the setting to these people. How important was it for those of of you from Texas to get that conveyed? 
Cheryl: For me, when David was writing the script, I didn't know what type of feel it would have. I didn't know it would be this Texas farm. When I read it though, I was so excited. I called my Aunt Judy who lives on our family farm and asked her if we could film at the farm house and on her land. She opened her home to all of us. The entire town of Eustace, TX was so welcoming. Neighbors brought food for us, donated props, trucks and an apple orchard! 
David: It was absolutely important to me, coming from Texas. Abbie and Aunt Dot's relationship and they way the speak to one another come directly from the women I grew up with and around. I wanted to capture and honor that aspect of the south. The ruggedness of small town Texas life was also important, as a metaphor for Abbie's life. The impossible vastness of the blue Texas sky, the golden sun at once brutal and brilliant, sweeping fields of grass stretching for miles - these are in Abbie's soul, as is the loneliness, the nosiness, and the bonds of a small farming town.
Greg: Working on such a powerful piece, how do you approach doing take after take (especially those moments with mother & son outside)?
Carina: I will leave Cheryl and Dave to answer that since I was busy keeping the environment clear from potential snakes (safety is always my number one priority and Cheryl can attest to that).
[image error] Gabriel Rush & Cheryl AllisonCheryl:  Yes nothing like preparing for an emotional scene and your producer is off camera jumping up and down to keep rattlesnakes away. But seriously, those emotional moments are obviously the hardest for actors, directors and the whole crew. As an actor, I try to balance being in the moment but also being consistent. You have to think about things like continuity throughout all takes or your editor is going to curse you! In the emotional climatic scene with Gabriel at the end of the film, we just tried to stay in the moment take after take. I also use music to help me. I always have an iPod on set with a playlist specific to my character. After shooting the scene numerous times, I found out they were going to shoot one more close up of me from a different angle. I was exhausted emotionally and didn't have anything left. I went to Dave and told him I didn't think I could do it. He hugged me, reassured me and I literally pulled from his energy and it made me start crying and we got a great close-up. 
Dave: Well, in fact, the scene you’re asking about was even more complicated than you may think. Not only was it a scene with powerful emotion, but it was also highly choreographed and physical (for actors, camera and sound) and to make matters worse, the scene was shot with a setting sun. So, it’s complicated, emotional and the clock is ticking! The key here is planning. The script must be tight and every detail of the blocking must be thought through. In that ‘emotional zone’, everyone, cast & crew, must bring their ‘A game’. Because there will only be a certain amount of time we can sustain the emotion. So, it may not sound very artistic or romantic, but there it is – plan ahead – plan ahead!  
Greg: David, what was it like to see your first film come to life?
David: Surreal. Mostly because film is not a genre I had seen myself writing in. But honestly, the most remarkable thing for me was seeing the commitment of others to something that I had written. This incredible team of producers, actors, and crew took my little story and gave so much of their heart and time and energy to it. Their professionalism and integrity left me humbled and honored. I was moved that they were moved by this story. I lit the spark. They fanned it into a flame.
Greg: That’s such an incredible feeling. Thrilled you got to experience it. To close out this wonderful conversation, what does indie film mean to you and what is the importance of it in the landscape of filmmaking? 
Carina: By cinematic story telling, we can create important social impact and raise awareness. As an indie filmmaker, I feel there always needs to be a message conveyed with our films, whether they are comedies or dramas and there is a certain responsibility that comes with that. Indie to me means being truthful.
Cheryl: For me, a great indie film will have a creative artistic vision, that is story-based, great characters and relies on the art of telling a story rather than special effects etc. Indie Film pushes boundaries and many times proves that you don't need a huge budget to capture the heart of an audience - you just need a good story and talented people to tell that story. In my opinion, thats exactly what we had on FFTT.
Dave: Indie filmmaking is tremendously important.  At it’s best, it’s pure, grassroots, passionate storytelling. And for me – There is one remarkable moment in filmmaking that is incredibly special, particularly in the ‘passion project’ world of indie filmmaking.  After so much work - You’re on set - the concept, story, script, casting, costume, location, lights, sound, camera, crew… everything has come down to this –  And, for that one remarkable moment - everyone leans forward – and there is silence – there we are - together - all standing on the ‘precipice of expectation’ – in anticipation of a single word – a word that will change all the weeks of work and sweat and passion - into story --- ‘ACTION!’

Beautifully said and thank you all for taking the time to share your thoughts on this journey - I encourage all of my readers to watch for FAR FROM THE TREE and go see a screening when it’s near you! 

Broadway Delivers Déjà Vu with Groundhog Day

Another popular film has made its way to Broadway and this time it is Groundhog Day.
Another popular film has made its way to Broadway and this time it is Groundhog Day .
(See what I did there.) 

The musical follows the same structure of the film that starred Bill Murray as arrogant weatherman Phil Connors who is sent to Punxsutawney, Pennsylvania to cover the festivities and then wakes every day to find it's February 2nd over and over. Instead of using this loop to his advantage, he finds he must learn to do good in the situation ...something very hard for one as selfish as Phil. (Yes...it's a little like Scrooge.) I was thoroughly entertained by the sheer fun of the evening. Sometimes we just want to go to the theater and laugh and enjoy ourselves and that's exactly what this show offers.
The musical ran in London to very good reviews and received 8 Olivier Nominations  (London's equivalent to the Tonys) which will be announced April 9th. Producers brought it to Broadway where it will officially open April 17th after it's preview period, however the team must feel it's in good shape as they've already recorded the original Broadway cast album to be released two days before it opens. HUGE kudos to Matthew Warchus for his incredible direction of this piece which could feel like a broken record since it repeats itself over and over. This artistic director of the Old Vic in London and his creative team are truly pulling out all the stops to create a fun-filled evening on several turn tables, lots of LED lights, falling snow, toy cars, and yes - a man in a groundhog suit (wonderful scenic design by Rob Howell). I don't want to give away too much of the magic of the show as it should be enjoyed in the theater, but they have come up with some cool ways to show time starting over and over and over. (Love the entire sequence during "Hope" in Act 2!) 
Andy Karl puts on the suit (again and again) of weatherman Phil Connors and has made this role his own. Even if you know the movie well, you do not feel you're getting a carbon copy of Bill Murray (which I can't say for other films that have traveled to Broadway). I love when he does comedy as he masterfully showed in On the 20th Century and he is given every opportunity to shine in this show - hardly ever leaving the stage. Even when he's such a jerk through act one, there is still something so charming about this actor that you are pulled into this journey with him. If anyone can give Ben Platt competition for Best Actor in a musical this year - it's Mr. Karl who is giving a tour de force performance and workout on that stage. Utterly brilliant in his portrayal.
Broadway newcomer Barrett Doss plays Phil's producer who has the challenge of keeping the man in check, yet we get to see her dreams and aspirations as well (this is a musical after all, so she can sing about them) and sing she does! What an awesome voice. She plays Rita with spunk and a likability that anyone with half a brain will know Phil should be falling for her by Act 2. The rest of the ensemble plays the town folk in Punxsutawney who live out Phil's day over and over - ever so slightly changing things each time. I'm amazed how this entire cast can do this show nightly and not get confused about what scene they are in. Bravo.
The score written by Tim Minchin (Matilda) is serviceable. I don't say that to be rude, it just doesn't stand out for me...it's just there. It's also an odd collection of sounds that don't all jive together. We have modern musical, old-time country, rock, a little alternative rock (think R.E.M.) so for me it's not the highlight of the musical. Which is a shame since that's what this is...a musical. There are some very interesting rhymes at times and at others, imperfect rhymes jump out and offend my ears. There are also sub characters given major songs which have no point being in the show. It's almost as if the writers couldn't decide if they wanted to tell the story of Phil having the ensemble be caricatures around him or let us delve inside of their minds too for their stories...so at times they give us both. Which makes for too long of an evening. However these elements are all staying (see above where the album has already been recorded). Danny Rubin has adapted his own screenplay for the film, but both he and Minchin miss the mark by not giving the lead character an "I Want" song. Every musical you know tells us what the main character wants to achieve by the second song and we watch their journey. That's a major issue with the structure of Groundhog Day as a musical - Phil doesn't have an overriding goal (so they've given it to Rita to share early in the show). 
Honestly, this is my biggest beef with the show - but that said...I was still greatly entertained. I just feel this may be what keeps audiences from pulling for Phil (and Andy Karl deserves it). The couple in front of me left at intermission...guess the déjà vu was too much for them. That's a shame as Act 2 is a very different feel from Act 1 so they missed out on a pretty wonderful show where it becomes It's A Wonderful Life. This show had the potential to be really great (with some trimming and tweaking). Instead, I can just say despite the flaws that are there, go and be entertained - Andy Karl's performance alone makes it worth the price of admission. (The actor in me was feeling every bead of sweat that fell from his head knowing he's working his butt off on that stage!)

Amélie Is Magical and Adorable

When the world is in a crazy and unsettling time, sometimes you want to escape in the theater with a light-hearted musical. That's exactly what Amélie offers which opens on Broadway April 3rd. It is magical, charming, quirky, and adorable! Based on a 2001 French film, Amélie grows up in a sheltered family. Her parents believes she has a heart defect so they home-school their lonely introverted daughter. Touching and connecting are not common with her parents so a fish becomes her only friend and she lives in a fantasy world. Once grown, she moves to Paris, works in a cafe with very eccentric people, and inspired by Princess Diana decides to perform random acts of kindness...in a hidden attempt at searching for love, connection, and acceptance. 
Not your average story for a musical, but Craig Lucas who brought us the mystical Prelude to a Kiss and the book for An American in Paris and Light in the Piazza (to name a few) has taken the film characters and given them theatrical purpose that makes sense in this one act musical. The moment the first notes started from the small orchestra, I felt transported to a magical place. Daniel Messé and Nathan Tysen have written a score that I know I will want to return to again. Reminiscent of William Finn, the score evokes emotion, excitement, and wonder. The writers chose to stay away from standard "French sounds" and have created a universal musical voice for the piece. 
While I complained about direction from War Paint , I am in awe of the world Pam MacKinnon has created (who is known for directing plays) in this musical. There is constant movement where ensemble people play multiple roles. The fact that Amélie mixes fantasy with reality, the musical is a stylized piece of those two worlds that makes one think of Dr. Seuss with the feeling of Matilda. (I actually liked this better. Perhaps because they chose NOT to do French accents and I understood everyone on the stage which I did not during Matilda.) Sam Pinkleton's musical staging is a delight to watch and the set, costumes, lighting, projections are all a marvel in this show. A huge kudos to those designers for transporting us in a fun and fresh way.
The cast is lead by Phillipa Soo who left her lead role in Hamilton to work on this musical out on the road before they brought it to Broadway. (Interesting note: she also created the female lead in The Great Comet which is also now on Broadway.) She is absolutely adorable to watch on stage with a voice like silk. Joy permeates on her face and you can't help but be affected by it in your seat. (There are obviously some Hamilton groupies that attend the show because of this young rising star.) Adam Chanler-Berat (from Peter and the Starcatcher and Next to Normal) brings his normal youthful exuberance to this role which is also infectious. 
I was also happy to see Tony Sheldon back on Broadway along with the other 10 performers who is the most diverse cast I've seen in a long time. By that I mean it is a quirky assortment of people that each stand out in a very unique way, making the evening all that more irresistible. (Come on, one guy gets to do a riff on an Elton John type character and another gets to be the traveling gnome...where else will you get to see this?)
As the show did run out of town, I was able to read previous reviews. The show has gone through changes from those productions and even during previews they have removed songs and added others. I've read some say if you have not seen the movie you will be lost seeing this musical. False. I went in cold knowing NOTHING of the show and followed along with no problem. 
Hopefully they can get it cut down to a more manageable running time since there is no intermission. While it may not follow the regular rules of other musicals, there is something very special and wonderful about Amélie's world. Trimming it a bit would make the sweetness of that world taste better, leaving the audience wanting seconds.
If you are looking for something different, light, and unique - treat yourself to the endearing Amélie.

The Journey of An Artist

Recently I watched an amazing documentary. One that will speak to some more than others as it deals with a musical on Broadway in 1981 that closed quickly, but became a legendary tale. Merrily We Roll Along was written by the amazing Stephen Sondheim and George Furth based on a 1934 play. It was directed by Hal Prince reuniting this dream team that had brought the world so many incredible musicals. The show used young 16-25 year olds to portray the characters who age to their 40s. 
New Yorkers turned against it before the musical ever opened, sharing tales of issues with the show, preview audiences couldn't follow the story, and people walked out mid-show. The show only ran for 16 performances. Skip ahead to 2016 and Broadway director (who was an actor in the original production) Lonny Price made a documentary on the film and it is pure JOY to watch.
Best Worst Thing That Ever Could Have Happened shares the story of the making of this musical from how these young kids felt to what they are doing today. Price captures BEAUTIFULLY the joy of every theater kid who has dreamed of being on Broadway. I watched with a full heart as Sondheim himself attends a party in Price's family apartment and plays on of the new songs for the show on his piano. It is amazing and incredible for every little kid who lived with show posters on their bedroom wall. (Raises hand.) A theme of the musical is that life doesn't always take us where we think we're going and the documentary picks up on that as they talk to those actors all these years later to find where they are now. (Some stayed in the business; others didn't.)
I will admit I watched with tears in my eyes at points. Both from the love I have for theater, Sondheim, the hard working people that create ART as well as thinking about my own life. Fall of 2017 will mark 30 since I moved to NYC from Texas with suitcase in hand and stars in my eyes. Much like the people in this documentary, I look back on my life and see how the path twisted and turned in ways I never expected. I'm just three years away from the age Sondheim was when he was writing this musical and the words ring true - so true. We take for granted so much when we're young and it all goes by so quickly. If only we understood that when we were young and eager, but perhaps if we did...fear would paralyze us and we wouldn't believe we could do anything. 
If you have Netflix, the documentary is streaming now and I can't recommend it enough. If you love theater. If you want to understand why people are so upset that a certain administration wants to attack the arts. If you want to witness how a Broadway musical takes form - it's all there.
As I write this blog, I realize it's Stephen Sondheim's birthday and I must wish him a very happy one. For all the joy he has brought so many with his writing through his entire career. I cherish a note he responded to me in the early 90s when I invited him to a staged reading of one of my own musicals and he couldn't attend. He is a genius of a writer, a nurturing individual to younger artists, and a legend that America is lucky to have as part of the landscape of this glorious thing we call musical theater. 

Two Powerhouses at War on Broadway

When you get the chance to see two amazing performers together on stage, you run to that show even if you know very little about it. Patti LuPone is a living legend with a belt like no other. Christine Ebersole may not be as large a name to some, but the two time Tony Winner has more emotion in a single phrase than many can muster in an entire song. Her voice is pure and something beautiful to witness live. The two star as Helena Rubinstein and Elizabeth Arden in the new musical War Paint about these two entrepreneurs that did more for the cosmetics industry than many even know - all the while being fueled by trying to outdo the other. 
And that is the premise of the 2 hour and 45 minute musical.
Feuds between women are huge. Ryan Murphy has offered the one between Joan and Bette on TV now. In the 80s there was a play called Legends (that never made it to Broadway) about two feuding legends that starred Mary Martin and Carol Channing. (Read the book Diary of a Mad Playwright by James Kirkwood where the story behind that play was even bigger than what was on stage.)
I need to start by saying I am a fan of so many involved in this show. Composer and Lyricist Scott Frankel and Michael Korie are often compared to Sondheim in how they write - where one needs another listen to allow their ear to catch a melody. I love their Grey Gardens (which also starred Christine Ebersole) and their score to Far From Heaven. Here they have given a score that is true to the multiple periods they take us through from 30s-60s while sticking to the musical voice they know.  I had the pleasure of sitting next to fellow Texan playwright Doug Wright on a plane many years ago and had the most amazing discussion. He won the Pulitzer for I Am My Own Wife and also wrote the book for Grey Gardens. Michael Greif has been at the helm of many Broadway 'wonders' from Rent to Next to Normal to the current Dear Evan Hansen and is in the director's chair for this one as well.
With this dream team, my hopes were high and they were quickly dashed. While trying so hard to keep this show even between the two lead roles, they see-saw back and forth until it is one huge muddled mess of a story. Act 1 stays on one note of "I don't like that other woman" and yet we don't get enough "why?, what's motivating them to be the pioneers that they are?, why do I want to care about these two women?" The subplots are so small there isn't truly a reprieve from the main story line. They each have a man in their life handing marketing and sales, Arden's husband Tommy Lewis played wonderfully by John Dosset and Rubinstein's Harry Fleming played by the dashing Douglas Sills (enjoyed seeing him back on Broadway). However they have two of the more cringe-worthy songs in the show. The ensemble is full of people with huge Broadway credits and each are so under utilized in this flimsy book of a musical, it's a shame. 
In trying to be so even - Mr. Greif stages it in such a repetitive, boring manner that I knew exactly what the next scene was going to be - down to when the man would sit on a desk - it's the same scene over and over told for a different character. (Sorry, we already have Groundhog Day opening this same season.) I was complaining at intermission about the direction having no idea it was someone that I loved and respected so much. Everyone crosses and circles each other all night long with no intent behind their movement. I get that we wanted to show these women on parallel paths, but I would have preferred something deeper in the storytelling to pull us in. I actually believe concentrating on one over the other would have made for a more compelling story. There is only one true moment that comes close to any emotional depth that we saw in Grey Gardens and that's when the incredible Ms. Ebersole sings the song "Pink" about her legacy. Ms. Lupone is allowed to belt every song and the audiences eats it up. (She is in amazing voice!) She delivers one-liners throughout the show that feel we've been plopped into the middle of RuPaul's Drag Race. 
There are over 20 songs that start to go together because the book needs to be given room to breathe before jumping into yet another song. And then when we finally do get a true book scenes, it's at the end of the night when (stop reading if you don't want any spoilers) the two women finally meet face to face and the musical stops everything to give them a true scene...which for this audience member came much too late. To do an entire musical where the two leads never interact is probably the biggest disservice of this entire show.
There are musical moments in the show that are glorious for the two leads. There are moments in the book that take a swipe at what is happening in America today as it's about two immigrants who chased the American dream and succeeded. (Listen for the line about fighting the bully - the audience eats it up.) I must also give a huge shout out to Catherine Zuber for her incredible costume design. However in a season full of so many new musicals (both original and based on films), I'm not sure the two powerhouses will be enough to keep this seesaw of a musical teetering back and forth. I guess we'll wait and see. It's still in previews. Much could change. They've already changed some since it's run in Chicago. However, the main things I point out above will not change as I went and read reviews from Chicago right before hitting the publish button on this blog and many felt the same way then...and I think they'll feel it again.
These stars deserve better. These real life women deserve better. 

Finding Your Significant Other

In a season which seems crowded with new musicals, the play  Significant Other finds its way to The Booth Theatre after playing off-Broadway last year. Joshua Harmon, a young 30-something playwright, has written a millennial play that people of all ages can enjoy. Four best friends (3 women and one gay men) have created their own family as many do when they live in the huge city of New York. Staying focused on their own worlds, paying little attention to things outside of their neighborhood, and playing the role of therapist, friend, and even wedding date for each other. However it is in those late 20s when so many watch their friends marry and one can't help but ask the question: what happens to me?
Those are Jordan Berman's issue as he watches his girlfriends find love and futures while he can't seem to find a boyfriend and even create a present - let alone a future. Gideon Glick is absolutely wonderful as the glue that holds this group together. Neurotic, energetic, funny, moving - he runs the gamut of emotions...with hardly ever leaving the stage. He also lovingly cares for his grandmother (played beautifully by Barbara Barrie) and listens to her sage advice. (Side note: I was told Ms. Barrie made her Broadway debut at this very theater and it's so wonderful to see her back on stage.) 
I owe Mr. Glick a HUGE apology (and a compliment) because I didn't think I cared for him...only because of a role he played on a web series that I watched. I now realize he played THAT character so well, it was the character I didn't care for! He is an incredible actor and I actually feel this season could see lead actor in a play and a musical Tonys BOTH going to young men.
The three female friends are all wonderful creating very different young professionals in New York City. Sas Goldberg starts the play off with a bang as Kiki and never lets up, Rebecca Naomi Jones gives Vanessa a wonderful arc as we see her views on marriage (and funerals) change, and Lindsay Mendez is so real as the best friend Laura as I believed she and Jordan have been friends for years. John Behlmann and Luke Smith round out the cast with the task of playing three characters each and every man is so different that you find yourself wondering if the cast is actually larger. Bravo to this awesome ensemble of performers...some of which are making Broadway debuts.
Trip Cullman has done a great job at directing this piece which often reads as a sitcom (Friends meets Will & Grace), but also has a lot of heart to it. A shout out to Mark Wendland for the inspired set design which takes us to numerous locations.
I attended with my own group of girlfriends (we are all in late 40s/50s) and each of us commented how we can relate to portions of this show. We can either remember what it was like to be that age and wondering what all was yet to come, being the one calling a friend and it going to voicemail because they have a new love in their life, or creating a family of friends that you can turn to whenever you need them. Age doesn't matter...those significant people in our lives stay significant for a reason. 
If you're visiting New York and you are looking for an alternative to a musical or a revival this season - go see this show! 

Canada Gives A Gift With Come From Away

Our neighbors to the north have always been known for being a kind and compassionate country. It's no secret that during the last US elections, many Americans were eyeing it as a potential home. Well that happened for several days for people from all around the world on Sept 11, 2001. When America was under attack, 38 planes carrying almost 7,000 passengers were diverted to Gander, Newfoundland by the FAA. The small town's population was doubled and this community opened their hearts, homes, and wallets to all of these strangers. It was 'home' for these people for several days until they were able to get back in the sky and on to their final destinations.
Canadian writers Irene Sankoff and David Hein were drawn to this story and used it as the basis for their new musical Come From Away . Once again, Canada has opened their hearts and are giving Broadway a wonderful gift with this show. The original show had an out of town run before hitting NYC in La Jolla Playhouse, Seattle Rep, Ford's Theatre, and Toronto and has already settled in beautifully into their home at the Gerald Schoenfeld Theatre where it opens March 12th. With the power of the musical Once and the story-telling style of The Laramie Project, this show has a uniqueness that should stand out in a busy spring season of new musicals.
I'm breaking my own rule as I usually don't write about shows during previews, but it's obvious this show is a well-oiled machine and I want as many people as possible to know about it and go see it! It's about love, compassion, unity - all things we need to hear. The show starts with a bang and in 100 minutes with no intermission tells the story of the people of Gander as well as "the plane people" that have come from everywhere to their small town. Director Christopher Ashley keeps this ensemble constantly moving - sometimes without giving pause for applause - which the audience desperately wants to give. This ensemble of amazing performers are giving their all on that stage and we feel every bit of it. They switch characters in the blink of an eye and we never lose sight of who they are at any given moment. I say ensemble as it truly is an incredible group of people working together: no star turns in this show (though I must say that I love seeing Jenn Colella and Chad Kimball back on stage.) But I truly fell in love with every single performer on that stage including the band who plays on stage, adding to the overall energy and passion.
Sankoff and Hein have written a beautiful piece that many people may not know. In the middle of a horrible time in our country's history, these people found community and it's stunning to witness. It's also wonderful to know so many in this show are based on real people, real stories - and you can sense it. It's not maudlin, it's uplifting. It's funny. It's powerful. (There is a moment where many religions converge during The Prayer and it's stunning.) The music is different from what we're used to from Musical Theater (being a former BMI Musical Theater Workshop student - I always notice this), but it fits perfectly with the rhythm of this show. Sometimes it's best to break the rules! Bravo to these two nuanced writers! Beowulf Boritt has designed a simple set on a turntable with mismatched chairs. Howell Binkley provides wonderful lighting and both of these elements let us know where we are every step of the way.  
We all have our own stories from 9/11. I had not made it to work that day and was watching from across the river in Hoboken, NJ at the train station. However it was poignant for me that I saw Come From Away just two days after the 24th anniversary of the '93 World Trade Center bombing where I had just started a part-time job on the 98th floor of Tower One and recall taking an hour to walk down all those stairs. (Yes, this arts guy chose a corporate America "stay-alive job" while living out my arts dreams in the early 90s.) One of the beauties of Come From Away is that it allows us to recall our own memories from that week while seeing a completely new story that displays in such a dark moment, there was a diverse group of people that found each other and celebrated those differences. Wow. 

Oscar Picks

I've titled this Oscar picks as they are who I WANT to win - not who I think the Academy will end up choosing. First, I want to start by saying that yes: I am a huge fan of musical theater. So it may surprise people to find that I'm not on the La La Land bus this season. I thought the movie had great moments with beautiful filming and great cinematic choices. The leads were adorable and impressive in what they could do in a musical. That said - I don't feel it deserves the accolades it has been getting this season. Perhaps people just want to be uplifted this year, but for me - there were other performances and films that are more deserving.
So without saying anymore, here are my choices for the upcoming Oscar Ceremony.

BEST PICTURE



Lion & Moonlight are my two favorites

ACTOR IN A LEADING ROLE



I really thought I was going to say Denzel, but then I saw Andrew Garfield in Hacksaw Ridge and I was captivated by his performance. (Side Note: I wish Joel Egerton from Loving would have been in this category over a few of the others.)

ACTRESS IN A LEADING ROLE



Natalie Portman disappeared into the role of Jackie Kennedy. Would love to see her win.
ACTOR IN A SUPPORTING ROLE

I grew up with Texan men like the character Jeff Bridges plays in Hell or High Water. Never saw him acting.
ACTRESS IN A SUPPORTING ROLE

Viola, Viola, Viola Davis for Fences.

CINEMATOGRAPHY



Here is where I would award what is great about La La Land.
COSTUME DESIGN

Florence Foster Jenkins transports us to a time period that I love!
DIRECTING

I found Moonlight amazing and what Barry Jenkins was able to do with the script - told in 3 parts - was moving and exceptional in its simplicity.
DOCUMENTARY (FEATURE)

If you haven't watched 13th yet on NETFLIX, you should.
MUSIC (ORIGINAL SCORE)

I can't get that La La Land theme out of my head.
MUSIC (ORIGINAL SONG)

I believe a song shouldn't only be a great song, but one that gets in your mind and you can't let go of. There was a reason Can't Stop the Feeling! was the song of the summer!
PRODUCTION DESIGN

I'm torn between Fantastic Beasts and Where to Find Them or Passengers - both very different designs that took me away.
SOUND EDITING & SOUND MIXING

Some very interesting sound was going on in Arrival and I think the film should be awarded for that.
VISUAL EFFECTS

There are so many choices, but I was blown away by Doctor Strange.
WRITING (ADAPTED SCREENPLAY)

I really loved Hidden Figures and want to see it awarded for bringing us such a wonderful story.
WRITING (ORIGINAL SCREENPLAY)

I know Hell or High Water is not the popular choice, but I haven't felt for the bank robbers this much since I saw Kevin Costner in A Perfect World in '93. (Watch THAT movie if you get a chance!)

She's Come Home At Last

As I watched Glenn Close make her entrance on the stage at The Palace in Sunset Boulevard , I couldn't help but wonder how it feels to return "home" to a role she did 22 years ago. To return home to Broadway and all her fans in the dark. No, she didn't go the route of the aging actress Norma Desmond that she portrays, but there are definitely moments that she must be living some sort of similarities.
I've heard this production of the Andrew Lloyd Webber musical compared to the concerts at City Center, but I compare it more to the concerts usually done at Lincoln Center where the huge orchestra is right on stage and the performers do the show in front of them. First done in London and directed by Lonny Price, producers decided to bring that production back to New York and we are lucky they did.
I love this production! The moment the orchestra starts you realize how incredible it is to hear the lush sound from a 41 piece orchestra and Lloyd Webber's music has never sounded so amazing. I saw the original on Broadway with the mammoth set of a mansion that moved up and down and  rivaled the falling chandelier in another Lloyd Webber show, but in Price's production stairs and platforms take the place and I never missed it. Instead we can pay attention to the wonderful performances that are occurring each night on that stage for this limited run (which has been extended through June). We can hear the words written by Don Black and Christopher Hampton based on the Billy Wilder film and follow the full story instead of making the mansion another character that looms over the entire production.
Glenn Close has changed the way she plays the silent film actress who was forced to give up her profession once talkies came into play. At 50, she is considered over the hill and washed up. When Ms. Close first played it, she was in her late 40s and stayed true to the iconic performance of Gloria Swanson from the film version. But now, being in her late 60s brings a vulnerability and fragility to the role that is more moving and heartbreaking. She displays the importance of having an actress in a musical - and before people slam her aging voice....so what! That's what happens to the voice, it starts to go. And it works perfectly for this character when a note doesn't always come out exactly as planned. I loved her performance and tears came to my eyes when she sang "As If We Never Said Goodbye" in Act II.
Some of the British cast was brought over with Ms. Close and while NY critics weren't the kindest to them, I don't get the animosity. Michael Xavier is a perfect Joe Gillis - the out of work writer who happens upon the home of Ms. Desmond and ends up working for her. He has layered this character in a way I don't recall seeing 20 years ago. The cockiness is there, but I also believe he cares for Norma. And his singing voice is flawless. He hits those notes effortlessly and it's beautiful. Siobhan Dillon is a great Betty Schaeffer with a bit of a confidence that is refreshing. Fred Johanson adds a creepiness to Max (the man servant who harbors love for Norma and sees to all her needs) that adds to the weirdness of her home. He also has an amazing baritone that soars through the Palace. The rest of the cast are all quite nice in each role they play around the main story.
I must give a shout out to Mick Potter who did the sound design as I heard every word which isn't always easy especially with that huge orchestra on stage. I also love Lonny Price's choices in staging/storytelling which shows how a fresh director's eye can change a piece that has been done before. From the floating body to the young Norma's "ghost" lingering around the mansion - I loved it all! (Of course, I have to say that as I added a  young Anna and Angel when I directed a production of The Rink so I like playing with past/present.) 
If you saw the show 20 years ago, return. If you've never seen it - make this your first time. You get to see a star on stage and witness the largest orchestra that Broadway has ever heard. So worth it!