THEATRE GOSSIP #486: The Camp Is So High You'll Run Out Of Oxygen Edition

Previous thread:

Everything you wanted to know about TITANIQUE.

I stand corrected, r589 in the previous thread. If Guettel said so, I guess Sondheim must have said it.

Broadway needs a jukebox musical of Tracy Chapman songs. The thread about her made me relisten to some of her music. I’d see this before I’d see the Michael Jackson show.

So Sondheim was full of shit, then.

Did Carly Simon pass on the WORKING GIRL musical?

Laura Benanti seems an obvious choice for the Signourney Weaver part.

It must be said … I saw Gideon Glick on the 1 train today and he looked hot 🤷🏻‍♂️

Bring back Melanie to Broadway, she can *still* do it!!!

R8 Did you present hole?

I'm surprised Adam Guettel didn't reply to Sondheim: "Yeah, we tried that idea out of town when Celia Keenan-Bolger played Clara and it just didn't work."

I saw Piazza in previews. It didn’t bother me, but the revelation about Clara came much later in the show. I’ve seen it several times since, including the broadcast later in the run. Moving that dialogue earlier helped a lot - whether that was in response to Sondheim or not.

Good title but I would have preferred something like Theatre Gossip #486: Sondheim’s “Make Her More Retarded “ Edition.

She just ain't right in the head...

That Into the Woods tour also included Douglas Sills as Rapunzel’s prince, Kathleen Rowe McAllen as Cinderella, and Mary Gordon Murray as the Baker’s Wife. They opened the tour, but about seven months later replacements began to take over.

I'm surprised Charlotte Rae accepted under the title billing.

WHET Mary Gordon Murray? She was everywhere until she wasn’t.

She moved to La, did film & TV, and had a kid. I saw her in a couple of staged concerts around ‘17-18. She was a terrific Fauna in Pkpe Dream and an even better Marie in Most Happy Fella. She looks great.

Did Mary Rodgers’ kids call Stephen Sondheim , uncle Steve?

All this Sondheim worship. It's getting to be like Trump worshippers.

[quote] Did you present hole?

Why would he? Glick, in his time, was a voracious, to the sling born, bottom.

OP, terrible title. If anything, it should have been The Camp is as High as Beanie Feldstein's Eye (which still isn't all that great, but has a smidgen of thought behind it).

In his time? He’s only 34

Yes, but he's married now and I think he's calmed down.

R21 An assured bottom likes to rim their top as well.

I didn’t knows Ciara was retarted.

R26 Damaged, not retarded. Not, Corky retarded.

ONJ's character in Xanadu? Makes sense.

Since Sondheim's death, posters are pretty free with what they absolutely know what he thought about or said about a show.

[quote] ONJ's character in Xanadu? Makes sense.

No, that was Kira. Ciara was a hip-hop singer who had the hit "Goodies."

R28 Made me snort. You cunt, but so true. Kira was udderly retarded.

r31, was she a literal cow?

R32 I do believe she actually lost her breasts years ago. So now I feel bad.

[quote]I saw Gideon Glick on the 1 train today and he looked hot.

To each his own....

[quote]Since Sondheim's death, posters are pretty free with what they absolutely know what he thought about or said about a show.

He's not dead! He lives in all of our hearts and on the pages of Datalounge. We worship him and his Grande Dame, Patti. No one else matters.

I still wonder what happened to Johnny B. Wright.

Rigg in Denver

The camp is as high as JRB's thigh...

I've always thought that at the curtain call for Piazza they should bring out the pony.

Speaking of Piazza, whatever happened to Patti Cohenour’s career? One minute she’s an ingenue, the next she’s playing matrons.

She's 69 years old, R40.

That's what happened.

Well,, the dramaturgy in Piazza is so vague and gossamer, Vicki Clark had to step downstage and basically say to the audience, “You know my daughter? Well, she’s fucking retarded.”

MUMMENSCHANZ!

[quote] Speaking of Piazza, whatever happened to Patti Cohenour’s career? One minute she’s an ingenue, the next she’s playing matrons.

First you’re another sloe-eyed vamp, then someone’s mother, then you’re camp.

Watched 13 - The Musical. The songs kept from the Broadway musical worked well. And the rest, is kinda a High School Musical. For the new age. And Messing looks like an utter mess.

"Did Mary Rodgers’ kids call Stephen Sondheim , uncle Steve?"

No. We called him "Aunt Steve".

Psst, theater queens: Mary and Uncle Steve are both DEAD.

Yeah, well, offer us someone who's alive who's equally worth talking about and we will.

For some reason I’ve blocked OP. Must be a dickhead.

I love black olive and pineapple on my Piazza.

Does anyone know how Sondheim's widower is doing?

I think it's probably best I take a break from the various DL theater threads. I just woke up from a highly unsettling dream. I had been cast as Sally in London and both the critics and the creatives were displeased with my Losing My Mind, which I thought was excellent. Everyone was comparing me unfavorably to Dorothy Collins.

I'm a CIS guy, btw. The solution being discussed when I woke up was to have me switch roles with my Buddy, Gene Kelly.

I'm not making this up.

CSI?

Cis>Piss

[quote]Yeah, well, offer us someone who's alive who's equally worth talking about and we will.

I'm here, bitch.

They, too.

oh, please, r55.

Karen Akers is back! With the same haircut.

I never saw NINE but I liked her unusual voice on the cast album.

(Good lord--how old is she now?)

[quote] I just woke up from a highly unsettling dream. I had been cast as Sally in London and both the critics and the creatives were displeased with my Losing My Mind, which I thought was excellent. Everyone was comparing me unfavorably to Dorothy Collins.

but r52 WERE YOU WEARING GREEN

The pic at r56 is why they hate us

Patti Cohenour fell in love and moved to Seattle and has a life.

I've worked with Skinner twice. She's great onstage, lovely offstage. Not sure why all the hate here..

Yes r62 She is delightful fun and great

Leave Miss Porter alone!

I wish everyone would leave Miss Porter alone for good.

I always laugh when I think of Sylvia Syms' line when Akers walked in: "Something's BORING in the room!"

It must be love if Patti C. moved to *Seattle*.

I love Billy Porter’s talents and personality, but the over-the-top outfits and makeup make him an attention whore.

R48 John Kander and Sheldon Harnick are still alive. Kander's more interesting body of work holds up to Steve Sondheim's, and arguably has more colorful peripheral characters and incidents: Lauren Bacall, David Merrick, Liza at her best and worst, notorious closet case Marty Richards, Streisand (who he stood up to in a way Sondheim never did), 5 shows with Hal Prince, Garth Drabinsky, Sinatra, Lotte Lenya, Fosse, not to mention two hugely successful film versions of his shows. And, of course, Fred Ebb (about whom there's a maaaaaany stories to be told).

So tell them. More Fred Ebb stories!

[quote]I love Billy Porter’s talents and personality, but the over-the-top outfits and makeup make him an attention whore.

I agree with you about his talents, although he can barely sing any more, and that's his own fault. But his "personality" is what prompts him to wear ridiculous outfits and makeup, so I find that part of your comment rather strange.

Billy Porter gives me Jennifer Lewis energy, but that just makes me wish it was Jennifer Lewis in whatever I'm watching him in.

OH FANK YOU! You fixded my dramatic structure!

For the holiday crowd, someone should take the initiative and cast Billy as the Witch in ITW. That would keep it going until Spring.

Oh, honey, I think you overestimate the appeal of Billy Porter.

"appeal" and "Billy Porter" do not belong in the same sentence.

I avoid seeing Billy Porter whenever I can. He's the Monkeypox of the entertainment world.

[quote]Karen Akers is back! With the same haircut.

Ya gotta have a *look*, r58.

What "all the hate", r62. We like Emily on here.

Because his voice is gone, Porter's only remaining talent is being Billy Porter, but in today's celebrity obsessed culture, that will do him just fine.

she used to have a reputation for missing shows but that's ancient history (or as most DLers refer to it, "current events")

Emily’s an excellent actress. European sophisticate is not where she lives, but she *can* do it.

[quote]but in today's celebrity obsessed culture,

Oh c'mon, r80...

Sylvia Syms does Sweet Charity...

Call us when he's dead, r69.

I just looked up at the TV. Whaddya know???

It’s been done, dear. It’s called THE WIZ.

Billy Porter IS Dorothy Gale!

It will be what it will be. I f it's successful it's successful. If it bombs...

But the thing about the Mary Rodgers bio is that it's all (except for Jesse Green's smart footnotes and poignant final chapter) all in Mary's distinctive, endearing and outrageous voice and words. I never knew her but sure felt like I did by the time I came to the end.

Maybe because of that her book could be criticized or statements could be questioned for only being her point of view, but I'd rather hear her informed point of view than a lot of boring facts. She certainly convinced me! If John Kander (who coincidentally grew up in the same place as Mary's 2nd husband and was an old friend of his) gets a much-deserved bio, I only hope it's written with the same kind of talent as Mary's, whether Kander writes it or not. Is it too foolish to pray that Jesse Green has been sitting down with him and taking notes?

If it's Kenya Barris, maybe he'll find a role (Glinda?) for Jenifer (one 'n,' people!) Lewis, who starred in his "black-ish."

Alan Cumming to Make His Joyce Theater Debut with "Burn":

Miss Jenifer Lewis should be the Wiz-ahd!

NYT reviews "13: The Musical":

Jesse Green reviews "Night Music":

Jesse Green loved Emily Skinner!

God, every time I have to click on this link and read this horrible title, it makes me nauseated.

Just watched a "sizzle reel" of Barrington Stage's ALNM online.

YIKES!!! Jesse Green was too kind. Especially to Emily Skinner and Sierra Boggess, even lovely Mary Beth Peil. At least he called out that costume designer. Is the show set in the 1950s? 70s? Some imaginary world??

Sorry not to provide a link but those interested will easily find it.

[quote] Sorry not to provide a link but those interested will easily find it.

Fuck you, you fucking [italic] fuck [/italic] . Perpetual anticipation, my ass, you lazy POS.

Doin't bother, it's HERE.

Good God, that looks like the Oshkosh Community Theater production.

Skinner is more Aunt Eller than European sophisticate.

The sets and costumes are appalling.

Mary Beth looks scary!

Yep, that tv ad for The Piano Lesson is sure going to sell lots of tickets. It looks...fascinating.

Somehow colored saran wrap just doesn't cut it as a fabric for gowns.

[quote]Good God, that looks like the Oshkosh Community Theater production.

I'd rather see their productions than that piece of crap at Barrington Stage.

Is there ANYTHING to look forward to this coming season? On or off Broadway?

[quote] Billy Porter gives me Jennifer Lewis energy, but that just makes me wish it was Jennifer Lewis in whatever I'm watching him in.

I had never thought of this paring before, imagine them on stage together. It would be LOUD!

Interestingly in the curtain call vid Carl Magnus clearly gets the strongest response

Barrington Stage A Little Night Music

Excerpt from New York Times:

Despite that effervescence, though, “A Little Night Music,” in any half decent production, is also about rue. That’s even more salient in this first year following the death of Sondheim, who layered its brilliant songs so densely with varieties of regret. We feel that regret doubly now; for the characters no less than for us, pleasure is always coupled with loss.

So perhaps it’s no surprise that this Barrington Stage production, directed by Julianne Boyd, gets the rue so right. Especially in the performances of three of its central women, mixed emotion is always palpable. As the embittered Charlotte, Sierra Boggess offers a sad and hilarious sketch of a wife so steeped in the brine of her own disappointment that she actually looks pickled. And Madame Armfeldt, Desiree’s imperious mother, is no senile narcissist in Mary Beth Peil’s vivid performance; she’s a woman clinging as hard as she can, in her final days, to the thrill of a fully lived past.

But it’s Emily Skinner as Desiree, the focus of the complex romantic geometry, who most powerfully holds the show’s opposing forces in equilibrium and produces its warmest glow. She’s funny, of course; the scene in which she welcomes Fredrik (Jason Danieley) to her apartment after a performance and, despite his paeans to Anne, consents to revive their long-ago liaison — “What are old friends for?” — is a model of perfectly played situational humor.

Later, though, the humor deepens. Near the end of the weekend, when Desiree realizes that her last-ditch dream of getting Fredrik back for good has failed, Skinner offers a reading of the show’s big hit, “Send in the Clowns,” that, aside from being wonderfully sung, is as layered as a lasagna. Beneath her good-sport bravado is anger — at Fredrik, to be sure, for still being “in midair” when she’s “at last on the ground.” But beneath that is something unexpected and even richer: anger at herself for having failed to care in time about the squalid carelessness of a tossed-off, footloose life.

[quote]There’s nothing to be done, though, about the weak-tea watercolor set by Yoon Bae and the odd costumes by Sara Jean Tosetti. (For “Send in the Clowns,” Skinner wears a gold brocade gown with lamé sleeves that looks more like a 1970s Vegas castoff than Sweden in 1900.)

[quote]as layered as a lasagna

I love lasagna

[quote]I saw Piazza in previews. It didn’t bother me, but the revelation about Clara came much later in the show.

I honestly had no idea she was a retard for much of the show.

the rue so right

The soprano in that ALNM clip made my teeth hurt.

R102. I can’t speak for the current commercial, but I saw the order Bdway production with Dutton and Merkerson and it was thrilling.

[quote]So perhaps it’s no surprise that this Barrington Stage production, directed by Julianne Boyd, gets the rue so right.

Did Rue McClanahan ever play Desiree?

Original not order

Emily Skinner is far more suited to the world of Rodgers & Hammerstein, not Sondheim. Though she'd be great with Irving Berlin (Call Me Madam, Annie Get Your Gun).

Sierra was costumed like a ringmaster in a steam punk circus. And what's happened to her voice?

I think she got lazy. Her insta is full of her relationship so it seems like maybe she's been enjoying her guy and not keeping up her vocals. To me she always struggles when she's not singing in her classical voice. She's got some beautiful tones in her voice but she needs to get her shit together if she wants to keep doing musicals.

Did Barrington Stage Company do the Tovah GYPSY?

No, I think Tovah was at the Paper Bucks Playhouse in NJ, r121.

R45- I liked “13” too.

[quote]I honestly had no idea she was a retard for much of the show.

Emilee Skinner needs to fire her costume designer immediately. Gold gift wrap is *NOT* a dress-make

The Prince production was so beautifully staged that even the lauded City Opera production with Howes was to me a major disappointment. Why didn't I go to that original production more and why don't we have theatrical geniuses anymore?

I prefer wry to rue.

Emily played my mother in a workshop back in 2001 and it was wonderful. A career highlight.

Did Rosie O'Donnell ever play Clara?

Does Pretty Girl from AHS sing?

Rosie O’Donnell was too busy playing Smee in Peter Pan

The best part of the City Opera ALNM was when they flew in the Armfeldt mansion at the end of A Weekend in the Country. Thrilling, even on YouTube. The rest of the physical production was under-designed meh.

Will Imelda play Desiree next?

I think she still has a Charity in her, r133.

It would be charity if she were barred from the stage indefinitely.

Imelda did look remarkably fit in the broadcast of "Who's Afraid of Virginia Woolf." Does she do pilates?

To her great credit, Martha would frown on pilates.

Role play...

Imelda still has an Annie in her. Her “I Think I’m Gonna Like It Here” will really bring that song to the forefront.

Fred Ebb was in a very tender and loving throuple. They are all buried together in Brooklyn with the inscription reading "Together Again"

I admire Fred Ebb as a lyricist and show biz veteran, but it never sounded like he was always a pussycat to be around. A bit neurotic, yes? (As opposed to John Kander, who like Sheldon Harnick, seems to be genuinely pleasant, easy-going person.)

Anyone have any stories?

Fred Ebb was fat.

Never saw Imelda onstage but when my husband and I were in London pre-pandemic we went to The Chocolate Factory to see The Boyfriend, which we absolutely LOVED, and Imelda was in the audience rooting her pal Janie Dee on. It was great fun sneaking peeks at her (the audience configuration allowed for that) because she seemed so genuinely delighted with the show. She was sitting with a lady friend, unrecognizable to us. And nobody but us seemed to take note of Imelda (unsurprisingly, she looked like an ordinary housewife), though perhaps that was just British politeness. Anyway, she seemed very dear.

I'd still love to see her onstage.

Am I remembering correctly that Bob Fosse parodied Kander and Ebb rather viciously as the writers of the show Joe Gideon is directing in All That Jazz? I believe the actors based on them are seen watching a rehearsal and ogling the chorus boys like infantile idiots.

No, R144. Fosse based the neurotic composer on Moose Charlap (with whom he worked on The Conquering Hero), who really was that nervous and anxiety-ridden.

I don't remember now if there's a parody version of the librettist. But Fosse didn't mind Kander and Ebb the way he minded some others. And the Conquering Hero proved a real battle for him. He was eventually fired from it.

R144-Speaking of which, who was John Lithgow supposed to be?

Oh! Oh! I knew that!

I was so distracted by the horrible costumes and scenery that it was hard to get a feel for Skinner in the 2 brief clips. I know she can be an heartbreaker onstage it’s been a long time since I’ve seen her not come across as a broad. I do think she’s one of the few of that generation with any discernible personality or uniqueness.

I think Desiree’s an hard role to pull off. I like Howes but there’s something, if not broad like, hard about her. although she looks great there’s something matronly about her, she’s also not the most subtle of actresses. I imagine Simmons was more glamorous and problem more of a star turn than Johns but there’s something Indefinable at first croak with Johns. She was never a film star on Simmons’ level, she always seemed more of a character actress occasionally cast as a leading lady, and not unlike Lansbury. Desiree was her Mame. One of those instances all the stars aligned. I do think it’s interesting that Grimes was in the game at one point but I don’t think Disiree would have been as much of a career defining role. Grimes was too mannered and probably too much personality. I don’t think the vulnerability would have been there.

To bring this back to FOLLIES. Dorothy Collins. Sally Durante. Every. Subsequent .One.Compared.To.

I worked with somebody in a cd store years ago who became a friend who said he had been good friends with John Kander earlier in his life for many years. He said Kander was a wonderful person. Then a while after this Kander comes into the store and they greet each other like long lost friends very affectionately. I wonder if Kander knew our friend died a few years later.

I saw Jean Simmons on tour a couple of times, as well as Glynis Johns on Broadway a couple of times.

Jean was lovely but merely competent, not much spark. And certainly none of the sexy mischievousness Glynis brought to the role, career-defining, indeed! Charisma for days. I'm always surprised listening to the OBC at how few songs Glynis sings, and yet her performance is what dominated the entire production.

We will not see the likes of her again on Broadway, for sure.

I would like to have seen Honor Blackman. She had the right flamboyance for the role. Her Armfeldt was Evelyn Laye.

But wouldn't a contemporary audience of All That Jazz have just assumed it was Kander and Ebb who were being parodied because of the time frame of the film? Who would have ever thought.,..aha! Moose Charlap!

I saw Totie Fields as Desiree in the Bucks River production of ALNM in the ‘80’s. She was mesmerizing in the most literal way.

The witch in the new Terry Gilliam production in the UK is also black. I suppose the witch is always black. We can accept that because she is a witch

Some Fred Ebb stories. Yes he was neurotic and needy.

He and John had a huge screaming match in public while working on Spider Woman. Overweight and with serious heart problems, but pounding back bacon sandwiches and unhealthy food. John, who is mild-mannered and kind and sweet as they come, yelled at him "IF YOU DIE, WHO'S GONNA BE MY FRIEND? WHO AM I GONNA WRITE WITH? STOP THIS, FREDDIE!!!" Well, I guess that's more of a John Kander story.

When his heart got worse, he lost his ability to "sing", such as he could, as he was convinced they were going to have a second act as performers on the cabaret circuit. He was always trying to get John to take gigs with him, but John's very serious stage fright combined with Fred's health put a stop to that.

Fred was insanely jealous of the line "that's what they call me, so Lauren Bacall me" from Evita. He would give all the reasons he thought it was a bad lyric, then end his rant with "God, I wish I'd written it first"

He was extremely hurt by the All That Jazz, even though Fosse told him who it was based on (correct, Moose Charlap)

He fucking HATED the country. John lives out the country and Fred never visited him. He finally committed to coming for the weekend from Saturday morning til Monday morning. He arrived saturday morning and didn't make it to lunchtime before he was back in the care heading to the city.

The last song he wrote was "Nothing" from The Scottsboro Boys.

Totie actually sang "Me, here at last on the ground" while she was flat out on the stage floor. Her leg gave way, of course.

[Quote] Overweight and with serious heart problems, but pounding back bacon sandwiches and unhealthy food.

Is this a sentence?

[Quote] He arrived saturday morning and didn't make it to lunchtime before he was back in the care heading to the city.

Was Fred a mainstay of Studio 54?

Everything I’ve ever heard was that Fosse told K&E that it was a parody of Stephen Schwartz in ATJ, and that that whole sequence parodied the creation of “With You” in Pippin. Schwartz, just as manic as Ebb, wrote it as a ballad and Fosse turned it into a sex fest. (The OBC is Schwartz’s version).

I hate the country too. But I have so few friends being invited there is improbable.

If there's food, booze, and a comfortable bed...

Is Jonesy Hecht, the producer in All That Jazz, supposed to be Robert E. Griffith?

Robert ...

Desiree needs to have glamour.

[quote]Jesse Green was too kind. Especially to Emily Skinner and Sierra Boggess, even lovely Mary Beth Peil.

And he was far, FAR too kind to Julianne Boyd, the end of whose reign at that company is being celebrated in other quarters. I mean, really, what he wrote about her in this review almost makes it sound like they are close friends.

[quote]R52 I just woke up from a highly unsettling dream. I had been cast as Sally in London and both the critics and the creatives were displeased with my Losing My Mind, which I thought was excellent.

I had a theater nightmare over the weekend. I was doing various supporting/bit parts in a Shakespeare play, and thought I could remember the scenes if I reviewed the text. We’d done the production before but were reassembling after a vacation or something. I was trying to find my script or the prompt book before the curtain went up, but couldn’t.

At least I didn’t dream about stumbling through a performance this time.

[quote]I believe the actors based on them are seen watching a rehearsal and ogling the chorus boys like infantile idiots.

You're wrong about that, as well. In ALL THAT JAZZ, the character who ogles the chorus boy is a producer, not one of the writers.

Good stories, R155. Thanks.

Ebb sounded like a handful, but he had an enviable, long-lasting partnership with John Kander. Imagine writing CHICAGO or CABARET, much less both of those shows. Or the songs in LIZA WITH A Z. Or NEW YORK, NEW YORK.

I don't think they get enough love and recognition from show queens for their achievements.

R166's dream might have been prompted by Kieran Culkin's interview on Colbert last week. He said the main thing he had gained from being a child actor was the ability to learn lines really fast. To illustrate, he said he had come on set one day and they told him they'd had to move up another scene and were going to start shooting it as soon as the set-up was complete. He and Brian Cox had time for a joint read-through of the scene and then the director called Action. Culkin did the scene perfectly, and Cox, who HAD studied it, refused to believe he had only learned it during the read-through.

Kander and Ebb were very unlucky that their biggest show opened the same season as A Chorus Line, and the movie of their other biggest show opened the same season as The Godfather. Even though Cabaret won the Oscar, they'd have been a lot more clearly remembered if their shows had got the big moment in the sun that shows of that quality should.

I dunno. I think Kander & Ebb have plenty of recognition for their considerable achievements. They really only have two big shows....Cabaret and Chicago; (Spider Woman and Woman of the Year are 2nd tier) and one immortal song (New York, New York). Cabaret is beloved as a stage musical and as a film and Chicago almost equally so and neither one of those shows are going to go away for a very long time.

Ebb's estate and Kander make a lot more than Mary Rodger's $100k a year. They easily pull in seven figures a year and will continue to do so for decades.

Sally was married to Jimmy Durante?? That explains a lot.

When I see a musical at Barrington, I do not expect a "Broadway" caliber production. Their theatre is too small, the budget is too tight, the rehearsal period is too short, etc...

I've seen Sweeney Todd, Guys & Dolls, Ragtime, On the Town, and now Night Music at BSC. In order of best to worst: On the Town was marvelous (Tony Yazbek - swoon). Guys & Dolls (really, how do you screw up this show, but the actor playing Nathan mugged and ad-libbed). Sweeney Todd (a very big show, shoe-horned into the space and Harriet Harris relied far too-much on her acting tics from TV). A Little Night Music - it just lacked a twinkle and lightness(orchestrations were far too thin) It achieved 90% of the frothy delight it should be. Ragtime - just bad. If you're going to produce a show with Evelyn Nesbitt (the Girl on the Swing) you DAMN well better put her on a swing! DL-fave from years ago, David Harris should have been shirtless for visual interest! Alas he wasn't.

"is as layered as a lasagna"...... oh well.

Even in Wicked now the Witch must be black.

I thought the whole point was she was green

Which witch? There are 3 or 4 in Wicked.

Elphaba.

"New York, New York" is their only immortal song? I beg to differ.

I used to sit two seats away from Ebb at Encores! for several seasons. He was always with the same hunky guy. There was one show (can't remember which) that, when I looked over during one song, he had tears streaming down his face. Had to think he was moved because it was so good.

Maybe he just got a really intense hand job?^

Phylicia Rashad played The Witch way back in the 80s, so it's not like the role is lol "historically white."

YOU’RE wrong, R167. The one ogling the male dancer and using his breath spray after “Take Off With Us” was the composer Ted, played by Robert Hitt (who also did a ton of commercials).

And Robert Hitt IIRC was a (younger) John Kander type, very straight waspy type (in spite of Kander actually being Jewish).

[quote]Kander and Ebb were very unlucky that their biggest show opened the same season as A Chorus Line, and the movie of their other biggest show opened the same season as The Godfather. Even though Cabaret won the Oscar, they'd have been a lot more clearly remembered if their shows had got the big moment in the sun that shows of that quality should.

CABARET certainly did not win the Best Picture Oscar, which indeed went to THE GODFATHER, although CABARET won several other major Oscars. I thought that was going to be your point, but then you somehow screwed it up.

Kander & Ebb react when they realize Chita Rivera has been raised from the dead.

The director in All That Jazz Lucas Sergeant (John Lithgow) is based on Mike Nichols, not Hal Prince. In his one scend he’s directing a play at Lincoln Center. Prince was not known for directing straight plays. Also Lithgow physically resembles Nichols more than Prince. If it was meant to be Prince Fosse would have cast Robert Morse.

The cast of The Sound of Music returns to Salzburg for 50th celebration.

Yeah I know it's the movie cast and not the play.

John Lithgow looks nothing like Mike Nichols and never did.

Do they ever show Rolf in those reunions? TSOM was his only movie.

R182, if you are correct, and if the character played by Robert Hitt in ALL THAT JAZZ is supposed to be the composer of the show Joe Gideon is choreographing, I can only say I never got that. Before the scene of the highly sexualized dance to "Take Off With Us," we see and hear the song being presented by (I think) Anthony Holland in the role of Paul Dann, who seems to be the composer and/or lyricist of the song. He is presenting the song to a small group including the two men who seem to be the producers of the show, one of whom is William La Massena as Jonesy Hecht, and the other of whom is (apparently) Robert Hitt as Ted Christopher. The Robert Hitt character reacts to the song as is he's hearing it for the first time, so it never occurred to me that he's supposed to be the composer. But the movie is not very clear about this, unless I missed something. So I'm not saying you're wrong, R182, but how do you know that character is supposed to be the composer?

R188-But Lithgow excelled at playing narcissistic scumbags, so playing Nichols was a snap.

R190. I always assumed Ted was a producer simply by his corporate look which made his lusting after the dancer even hotter.

I wonder if Jerry Lanning and Gwen ever did the Twizzle.

Jerry Lanning was on 1 or more tv comedy shows like "Make Room For Daddy" which featured him singing a solo song. Very good voice and good-looking guy. Perhaps also on "Donna Reed"?

Gotta love how DL transforms a couple of All That Jazz characters kinda sorta inspired by real-life folks into "John Lithgow played Mike Nichols" etc.

Funny how everyone is obsessed when ITW productions have a Black witch but mention nothing about all the roles that seem to be restricted to white actors

Those weren't really his claim to fame now were they, r194?

R192, exactly. I've always thought that moment in ALL THAT JAZZ somehow manages to be really hot and very funny at the same time. Anyway, I'm still waiting for R182 to explain for us how he knows the character Ted is supposed to be "the composer." Until that happens, I'll go on thinking he's supposed to be one of the producers -- and yes, absolutely, the way he's dressed in those scenes is another big tip-off.

Darius Danesh, who played Nicky Arnstein in the West End opposite Sheridan Smith, has been found dead in his apartment. He was 41.

Who knew Jerry Lanning would pop up on DL again?

Or Frankie Michaels...

In All That Jazz Lucas is presented as something of a director wunderkind. Someone who was also something of a prick. And Lithgow certainly physically resembles Nichols more than Prince.

I stand corrected about Robert Hitt. I guess I’m going by the fact that Ted is always in shots with the guy playing the songwriter, as if they’re a team. And the songwriter hisses at him that thing about sex.

[Quote] Darius Danesh, who played Nicky Arnstein in the West End opposite Sheridan Smith, has been found dead in his apartment. He was 41.

Damn. RIP to Darius.

Minnesota? No one moves to Minnesota, do they?

"Take Off WIth Us" scene in ATJ.

I would assume the cause of death is... living in Minnesota.

Darius was a true Scotsman...

This production of Funny Girl is cursed. God hates it.

R196, what on earth are you talking about? What role is restricted to white actors? Are you referring to Into the Woods, or theater in general? I can’t think of a single role in the show that I haven’t personally seen played by a non-white actor.

Do you work for Tams-Witsmark?

Smoke! Smoke! (Take Off With Us)

[quote] what on earth are you talking about? What role is restricted to white actors? Are you referring to Into the Woods, or theater in general? I can’t think of a single role in the show that I haven’t personally seen played by a non-white actor.

And The Witch has been played by white actresses. So why the obsession on DL about a Black witch?

[quote] I can’t think of a single role in the show that I haven’t personally seen played by a non-white actor.

Dolly, Mama Rose

^ Pearl Bailey doesn't count because it was an all-black production

Has Little Red ever been played by a black actor in major production? Has the Wolf?

I didn't think so.

I saw Totie as Nanette in the touring production of No No Nanette in the early ‘80’s. She really brought out the comedy in the role of Nanette. Quite a tapper, too!

Uggams played Rose, r213.

Just naming one Black person who played a traditionally white role doesn't suddenly end that role being mainly done by white actors.

Even the Witch is mainly done by white actors.

Has Emile De Becque ever been played by a Frenchman outside France?

If just naming one Black person who plays the role makes it non-exclusive, then naming even one white person playing the Witch makes it also non-exclusive.

R215, yes. At the Arden Theater in July, LRR was played by a black actress. They even gave her Cinderella’s final “I Wish.” Before that, Ford’s Theatre used a black actress as well and featured her prominently in the promotional photos.

I like Rashad but she sucked as the Witch. Missed all the humor, singing was so so and she sort of faded into the background.

I saw Totie as Roxie in Chicago. Unfortunately the ladder she climbs up during Funny Honey collapsed under her weight and the show stopped dead in its tracks. The company quickly launched into a impromptu version of All that Jazz while Totie regained her composure. Fortunately no one (except the ladder), sustained injuries.

Rashad is boring and pretentious in everything..

Why must the witch be either black or white? The concern over " diversity on Broadway mirrors society's concern for " diversity," meaning black exclusively. Latino, Native American, or Asian - forget it. No quota for you. And the DL Broadway thread reflects the same racism.

Has a black man ever done any of the gay plays? Torch Song Trilogy? L!V!C!? Jeffrey? The Lisbon Traviata? The Normal Heart?

BREAKING News:

The Ricardos have reached Albuquerque.

[quote] Has Little Red ever been played by a black actor in major production?

Shanice Williams played Little Red at the Hollywood Bowl in 2019.

Leslie Uggams not only played Rose, but did so in her 70's. Black really don't crack. I didn't see it, but the clips I heard sounded like her voice was still rock solid, too.

OK, Now, has the Wolf ever been played by a Black actor in a major production?

Seems tricky, no?

The Arden Theater last month, r230.

Leslie Uggams played Sally Bowles in stock back in the 70s. Way before diversity was fashionable.

Martha Plimpton in the WSJ:

'I still listen to the original Broadway “Hair” soundtrack. The music unlocks vivid childhood memories and always stops me in my tracks.'

She's too old to be saying something like that.

Her mother and father were in it, r233.

R233, she was conceived onstage during a Saturday matinee. Of course it brings back memories.

Plimpton is 51 years old. What did you mean, R233?

Plimpton called a cast album a soundtrack.

Stone her!

There is *that*, r237. She certainly should know better.

R237 It surprises me that needed an explanation. On DL!

I really don't want to imagine DL doing the nude play "Party" where they explain the difference between soundtrack and original cast album. Too many dropped caftans. The finale with naked David Pevsner and company dancing and singing a Karen Carpenter salute was pretty unforgettable though.

This is so Darius.

[Quote] Darius was left seriously ill in 2017 when he collapsed and went into a near-fatal coma after drinking from the River Thames while promoting water filters for the Frech2o safe drinking charity.

[quote] So why the obsession on DL about a Black witch?

r212 and others you're missing the actual point, in classic DL pearl-clutching fashion. It's no obsession as you call it, it's about the fact that productions are now obsessed with making the witch black. It makes them feel with it and diverse, even though it now demonstrates a completely safe choice especially because she's, you know. A WITCH. Does anyone cast her white now?

They only cast a black girl as the witch because the witch needs to be able to rap and we know white girls can’t rap.

Is there a curse on people named Darius?

[quote]The finale with naked David Pevsner and company dancing and singing a Karen Carpenter salute was pretty unforgettable though.

Isn't that what we *all* go to the theatre for, r241?

Frankly, I'd finally enjoy the Witch's rap done by a black actress who actually could rap. White actresses just come off like they're doing Vachel Lindsay's The Congo.

*

BOOM, steal the pygmies,

BOOM, kill the Arabs,

BOOM, kill the white men,

HOO, HOO, HOO.

How racist and stereotypical, R 247.

Black wolf white little red sounds troublesome

[quote]I stand corrected about Robert Hitt. I guess I’m going by the fact that Ted is always in shots with the guy playing the songwriter, as if they’re a team. And the songwriter hisses at him that thing about sex.

Thanks for admitting you were wrong, but I wish you hadn't previously been so insistent that you were right and I was wrong, when you obviously weren't paying attention to the movie. Except for that "sex, sex, sex" moment, the songwriter and the Hitt character rarely if ever relate directly to each other, which is only one of many indications that they're not supposed to be a songwriting team. On the contrary, the character played by Hitt is most often seen relating to the Jonesy character. Plus, as someone else pointed out, there's the fact that the Hitt character is dressed in a suit as compared to the far more casual theater creatives.

Talk about being ungracious in victory

For absolutely no reason...

r248 is also:

[quote]All this Sondheim worship. It's getting to be like Trump worshippers.

[quote] Talk about being ungracious in victory

And a cunt

[quote][R248] is also:All this Sondheim worship. It's getting to be like Trump worshippers.

And your point? However, I'm concerned about your obsession with me.

Shelley Plimpton was also married to theater director Daniel Sullivan in the 1990s for awhile, He also worked on that original production of Hair as a stage manager and understudy. I think she was his third of 4 wives.

R254, I corrected someone else's misinformation here, only to be told IN CAPITAL LETTERS that I was wrong -- but I turned out to be right, as that person later admitted. To which I replied, "Thanks for admitting you were wrong, but I wish you hadn't previously been so insistent that you were right and I was wrong, when you obviously weren't paying attention to the movie." If you feel that language makes me a "cunt," so be it.

No, but keeping this whiney bullshit going makes you a cunt.

Oooh! I’d love to see a Black wolf and white Little Red Riding Hood.

Im sure death threats would be involved

Around these parts, the attitude seems to be, "It's not enough that I'm right; all those who did or could have doubted must be chastised for it."

[quote]r233 Martha Plimpton in the WSJ: [italic] “I still listen to the original Broadway ‘Hair’ soundtrack. The music unlocks vivid childhood memories and always stops me in my tracks.” [/italic] She's too old to be saying something like that.

[quote]r234 Her mother and father were in it.

Yes. Keith Carradine wrote “I’m Easy” to impress Shelley Plimpton while they were both performing in the show.

I guess it worked!

Is Martha Pimpton one of the worlds great CUNTS or is she okay? I’ve heard reports both ways

[quote]I corrected someone else's misinformation here, only to be told IN CAPITAL LETTERS that I was wrong -- but I turned out to be right

No one remembers, r257.

Or gives a fuck.

r260 It says a lot about how rarely they must be right that they need to overdo it so much

In keeping with the retro vibe, I suddenly thought about the at-least six buildings that bit the dust for the Marriott Marquis: the Hotel Picadilly, the Morosco, the Bijou, the Astor, the Embassy 5 and the Helen Hayes. Did I miss any?

Yes, they also damage the Colosseum when you were a child

The Embassy 5 was originally called the Gaiety when it was a legit house. Not to be confused with the OTHER Gaiety Theatre that was across the street in later years.

Little red would never go back to a white wolf after

the Eltinge

What the fuck were they thinking? Bothered and bewildered by this mash up

[quote]Keith Carradine wrote “I’m Easy” to impress Shelley Plimpton while they were both performing in the show.

Source? "I'm Easy" won the Academy Award for Best Song. If it was a pre-existing song, it would not have been eligible. (See, for example, "The Rose".)

Party was fun but often painful to sit through because a lot of the acting was downright amateurish, especially by the twink and the fugly femme guy.

Anybody remember Dressing Room Divas at the Duplex?

[quote]R272 Source? "I'm Easy" won the Academy Award for Best Song. If it was a pre-existing song, it would not have been eligible. (See, for example, "The Rose".)

Carradine wrote it just for himself and Plimpton. It wasn’t professionally recorded pre-NASHVILLE.

Carradine discusses this in the book [italic]Nashville Chronicles: The Making of Robert Altman's Masterpiece [/italic]by Jan Stuart, which is really fascinating if you like that movie.

As I remember, Carradine was playing some of his songs on a guitar while filming THIEVES LIKE US, and Robert Altman asked to hear them again when putting together NASHVILLE.

When The Last Time I Saw Paris when the Best Song Oscar in Lady Be Good in 1941 all rules were off as Jerome Kern and Oscar Hammerstein wrote it a couple of years earlier and not specifically for the film but for the fall of Paris to the Nazis.

Though I'm sure Martha Plimpton would be fun at a dinner party she can be very sour and negative in a work situation. I know from experience, the work situation .not the dinner party. I imagine it comes from her insecurities.

Martha Plimpton drinks a little...

So does Miss Reardon, r278.

Why hasn’t there been an ENCORES of Oh! Calcutta!?

r279 you do realize r289 was already there, yes?

R279 you do realize r278 was already there, yes?

Why aren't And Miss Reardon... and Gamma Rays/Man in the Moon Marigolds never revived? Both by the great Paul Zindel (who?). Great roles for women of all ages. Both plays garnered many awards when they first appeared.

What gives? Do they read misogynistic now....or something worse?

What we absolutely need is a revival of The Secret Affairs of Mildred Wild...

^

[quote]As Jack Kroll observed of playwright Paul Zindel, “He has written so far down to the audience that he’s fallen right through it and is at this moment plummeting straight to hell. . . . I have never seen such a symphony of gangrenous venality as this play.”

Zindel’s last play, A Destiny With Half Moon Street, featured a 15 year old kid who gave blow jobs to old guys in a clock tower…in Staten Island. It had only one production in the late 1980s at the Parker Playhouse in Florida. Brian Backer played the kid and Anne Meacham played his mother.

Brian Backer would have been 32 at the time.

But he was a DLer…. so looked half that.

R286 Oh, who hasn't been there...

[quote]Why aren't And Miss Reardon... and Gamma Rays/Man in the Moon Marigolds never revived? Both by the great Paul Zindel (who?).

He wrote the screenplay for "Lucy/Mame."

In All That Jazz, doesn't John Lithgow wear his eyeglasses perched above his forehead? Because that's a dead-giveaway parody of Hal Prince, who always wore his glasses that way.

Fosse was mad at Prince because he believed Prince was considering taking over the direction of Chicago when Fosse had his heart attack.

I forget whether that was true about Prince--but surely the Chicago producers approached SOMEBODY to save the show from just going under during the start of rehearsals.

Zindel wrote the Mame screenplay under Lucy's direct supervision. By direct supervision, I mean she would summon him to her home and dictate what she wanted. She's the one who stripped out half the good lines to "humanize" Mame's character.

[quote]Carradine discusses this in the book Nashville Chronicles: The Making of Robert Altman's Masterpiece by Jan Stuart

Thanks r275, just bought the Kindle version.

In one of the Fosse books it says that the producers of Chicago considered going to Gower Champion after Fosse had his heart attack.

Which is maybe why Fosse refused to go to Champion's memorial. They were unfriendly competitors from when they had nightclub dance acts with female partners.

Didn't Prince reproach Fosse asking him didn't Chicago in the 20s look awfully like Berlin during the rise of Naziism? And Prince got Fosse his job in Pajama Game.

Can't quite follow you, r295.

Are you saying that Prince accused Fosse of copying the "look" of Prince's Cabaret in Fosse's production of Chicago? If so, I don't see that at all except that Patricia Zipprodt was the costume designer for both so perhaps her design aesthetic carried over to both productions.

As far as who John Lithgow was playing in All That Jazz, I suspect it was an amalgam of Prince, Nichols and whoever. Similar to Yvonne de Carlo in Follies; there were clearly aspects of Joan Crawford in Carlotta, especially in her look, but, of course, the role was never written strictly about Crawford. It's called Inspiration.

Exactly, r296.

What the fuck do you know about where Fosse got his "inspiration" from, smartass queen at R295? So shove it up your ass.

You, too, R296.

[quote]Only Jennifer Lopez can be a showstopper when she’s not even in the show. The superstar —who is getting married to Ben Affleck again on Saturday — caused a stir, we’re told, when she arrived a full 20 minutes late for a performance of “Into the Woods” on Broadway. The “Jenny from the Block” diva arrived with kids (a “mix of her own and Affleck’s,” according to a spy) in tow, decked out head-to-toe in “eye-catching” pink and purple sequins.

God how I wish FOH just refused to seat these late-comer celebs. And the outfit looks as cheap and tacky as it sounds

[quote]“The entire audience turned to watch,” a fellow audience member told Page Six, adding, “Well, everyone except for Patti LuPone [seated three rows in front], who seemed militantly unimpressed by the spectacle.”

Well, we know what she'll be talking about the next time Andy Cohen has her on then

[quote]She “kept dancing in her seat — even to ballads, and applauding loudly with her hands up over her head.”

I'm sure DLers will love that detail

[quote]Other A-listers who have been spotted at “Into the Woods” in recent weeks have included Hillary Clinton, Nathan Lane, Jason Mraz, Tim Federle, Beanie Feldstein, Rachel Brosnahan, and Scarlett Johansson and Colin Jost, who loved the show so much they sent flowers to the company afterward.

A-listers, huh?

Sad that Sondheim is missing all this buzz around his show. When's the last time he had a buzzy event?

PS Tim Fucking Federle?? Acting secretary of the Fucking Lucky Club?

Is Federle attached?

He's probably attached to a big dick considering how fast he rose at Disney. He played a gull in Little Mermaid and next thing he writing and directing.

I'm delighted for the success of the ITW, which is delightful--I may go back and see it again.

But let's face it. This wouldn't be happening if SS were still with us. (And it didn't save COMPANY.)

On a side note: I believe the success of ITW has saved Lear Debessonet's ass at City Center/ENCORES. Things were looking a little shaky there for a while.

I'm really interested to see Andy Karl but don't want to sit through the whole damn thing again to see him.

Yes, r303, I doubt that most of the current audience members at ITW could identify Sondheim or know that he died last year.

R284-Thanks, honey.

I think a lot of Into the Woods success had to do with Heather Headley’s voice, Sara being divine in the Wife role and NPH bringing star quality. The buzz of that transferred to Broadway.

even though 2 of the 3 people you cite didn't move with it? I'm not disagreeing but that's interesting. And Sara is almost outta there

Sara leaving will be a much bigger blow than Headley's was. She brings a warmth to the Baker's wife, not to mention a terrific voice. Headley, IMO, was eminently replaceable.

When will Beanie and Nene go ITW?

I'm desperately trying to find a song Priscilla Lopez sang: I think it was a love song about a monkey. I heard it ages ago on the radio, and I can't seem to find it anywhere. On the same program I also heard a pretty funny song called "Penis Envy."

It’s official

I'm fine with those two. It's Radcliffe I'm lukewarm on.

I'd never seen Merrily We Roll Along until last night when I watched the Maria Friedman-directed revival after everyone had said it was the best version of the show and the one that made the most sense. If that's the best version, I'd hate to see what the worst one looks like. Excellent score, but the book is a big nothing. I could never understand why all these characters were so angry at each other.

I see where they were going with it, but none of the relationships are fleshed out enough for it to work. You never know why Mary is so obsessed with Frank or why Charley is so mad at Frank for wanting to make a little money and do something commercial when it seems like Charley's doing just fine with putting his own shows out there. Gussie comes across as a one dimensional soap opera vamp.

I feel as if it's trying to tread similar water as Follies did with the themes of the dreams of our youth turning into bitterness with age, but I think Follies did it better and we all know how questionable that show's book is.

Eliminate him, r314, and good luck with that production.

[quote]Follies did it better and we all know how questionable that show's book is

It isn't a book, r315, it's a framework...and suitably so.

"The Parable of the Monkey" from "Her First Roman" is the Lopez song. Track #13 at the link; you probably have to sign up to hear more than the excerpt.

The problem with Friedman’s work as a director is that everything is staged to make the drama as clear as possible. But it’s always very obvious; there’s little nuance or ambiguity or complexity. Subtext? Fuggedaboutit. It’s never bad, always good enough and perfectly fine, while also simultaneously being completely devoid of richness.

I think the critical response to this Merrily in London a decade ago was based on the fact that for a show with a reputation for being difficult and unclear (which I also find puzzling), the clarity of the drama was considered an asset, or revelatory, even. I suspect the critical response in New York will be kind, but not as half as effusive as it was in London.

How many DLers go see Bway shows more than once? I've only done it very rarely--Chicago and Phantom, both years ago and years apart. Chicago would be the show I'd take out-of-town guests too--and then I got sick of it.

I saw Hamilton in NY and in London, just because I was in London with a friend who hadnt seen it.

Other than that, I can't think of a show I've seen more than once.

The best version of Merrily is the original which was great. If that doesn't work then it's simply not going to work for a large audience. Even the original play was a flop.

God, Lindsay Mendez has a face for the dark.

R298 Hal Prince DID say to Fosse that Chicago looked awfully like Cabaret. Sorry if that shoves a lit stick of dynamite up your ass.

[quote]How many DLers go see Bway shows more than once?

I suspect that many of us do. It's not like seeing a movie and having no interest in seeing it again because you already know the ending. I saw the original "Sweeney Todd" three times with the original cast and wish I had seen it more. And I was young and had very little money.

I saw Merrily three times and the last time I saw it was the final performance. I would have gone many more times. Yes it was kind of all over the place but it was greater than the sum of its part. I was practically in tears during Our Time, which HAS to be done by young people, and then the graduation coda...I'm about to collapse into a mess of tears and regret.

You have to realize that some shows speak to certain people and some don't, r325. The show has to speak to a certain number of people to be a hit, but it doesn't negate how a flop can speak to a certain group of people.

When I was very young I saw favorite shows multiple times, Cabaret (when I was in high school!), then Pippin, Night Music, Grease, Over Here, Applause, Chorus Line, Chicago, Sweeney Todd....somewhat indiscriminate except I just loved them all, and a balcony seat or standing room were cheap and usually available on short notice after work. I only saw Follies twice and wish I'd seen it twice more, at least. Being single and unattached back then I'd sometimes even go alone like one would go to the movies. Heaven!

R327. Balcony seats were $4 back then. Orchestra for a musical was, maybe, $9? It was fabulous. I cannot imagine paying $200 and seeing a show multiple times. I’d go broke.

[quote]somewhat indiscriminate except I just loved them all, and a balcony seat or standing room were cheap and usually available on short notice after work.

"Standing room doesn't cost much. I manage."

I can remember earning about $110/week back in 1972/73, first job in NYC, my rent was maybe $165/month (W73rd St and Columbus 5th floor walkup) and I couldn't have felt richer.

When I was a college student, I came to NYC for Spring Break. I saw so many shows in standing room for $10 each.

I saw a lot of the Sondheim shows in previews, and frankly I wasn't very smart about them. When I saw Merrily, I thought it was a disaster, and didn't like the songs. Sunday was okay, but a bit of a bore. Into The Woods seemed like a misfire. I love all these shows now, and I'm embarrassed by how much I misjudged them.

Jesse and his big bat will be back

r329 You're too short for that gesture.

Why God Why would "Take Me Out" return? They really think there's a market for a revival of a revival?

[quote] "Standing room doesn't cost much. I manage."

$76 fucking dollars at The Music Man. To stand. They should rot in hell.

r333 it's interesting that story is gone. Someone broke a press embargo I presume. Heavens! Broadway news must not be stopped. Press agents in a tizzy

Well, since that article about TAKE ME OUT returning is gone for now, those ace journalists at BWW will have the opportunity to correct the headline and spell the word "led" properly.

R336. Wasn’t Hugh just talking about making theatre more affordable? How about starting with $10 standing room. Greedy pigs. I wouldn’t pay $76 to sit on Hugh’s trombone.

$76 for standing room is utterly ridiculous

It's just that Merrily was seen as such a bomb at the time that it broke a legendary Broadway theater relationship and it almost seemed like a traumatic experience for those involved. And yet for me as a work of musical theater I found it completely exhilarating and I was tearing up at the final curtain call that Saturday night.

But now it's a show that seems to not let go. That for some reason even though the reviews across the board were scathing and it only grudgingly got positive notices for the score people revive it as if it were some sort of truly major work that just needs some tweaking. As I've said before I truly think it's unfixable in the way that people think it needs to be fixed. But it's a great work as it is and it can't be 'fixed' and one must accept it on its own terms.

As a show, it makes a better cast album than a production.

[quote]R314 I'm fine with those two. It's Radcliffe I'm lukewarm on.

I wanted Julie Benko, just to burn Beanie’s ass.

Jesse Tyler Ferguson was terrible in TMO. The only reason to see it was for that massive Williams dick. And Williams is a much better actor than Jesse in this.

Might they do a PBS Live From Not Lincoln Center of "Take Me Out"?

Merrily's score is superb, but few of the songs feel earned and the dramatic stakes seem too low. It's going to be hard to fix that without starting over from scratch. Follies is more fixable because at least many of its underdeveloped characters are at least interesting in one way or another. Mary, Charley, and Frank are all bores even with the best actors playing them.

They're smart to get actors like Radcliffe and Groff for this revival. I think it'll do very well based on their name recognition and end up being the most profitable production of the show to date. I just hope they know what they're in for. Even with their talents, it's an uphill climb and both are thankless roles.

[quote]Follies is more fixable

Pray tell, r346, how would you *fix* FOLLIES?

Oh, pray don’t

Why, I'd make a pact with Satan to bring back the entire original Broadway cast and creative team and rent out the Winter Garden for a few months and recreate the entire original production. That's the only way to please Follies fans.

Christine Ebersole “Around the World”

I always loved this song. With just her voice and the piano

The NT Follies was well received here.

The only way people would accept a full retooling of Follies would be if it were adapted into a film. Many changes would have to be made for the story to work well on screen. Of course, we all know this film will never be made. If it's not made within the next 10 years, there will never be a need to make it at all. All the great stars will be dead or too old. We've already lost so many of them. Do it ASAP and allow Liza Minnelli to sing Broadway Baby from a chair, Julie Andrews to sing One More Kiss down the octave, and Bette Midler or Ann Margret to kick up her heels during Who's That Woman. I'm afraid Beanie's take on Hattie or Stella 40 years from now just won't cut it.

The NT Follies worked with a bunch of British people, most of whom the average person couldn't pick out of a line up. And, really, none of the old timers in the original production were A-Listers.

Where oh where is that planned movie of the NT FOLLIES?

I don't mean the video capture (which is excellent). I mean the full-length movie that sounded like a sure thing at the time.

Oh I didn’t realize Groff is playing Frank … that casting is more interesting

I actually do think a film version of Follies would be amazing. And I'm not even a fan of the show.

A film version of FOLLIES could indeed be amazing if only in terms of what they could do photographically with the "ghosts" and maybe also in terms of brief scenes that could flash back to the 1940s.

Waiting for the Girls Upstairs could be great.

I don’t see Daniel Radcliffe as Charley and I don’t see Lindsey Mendez as Mary. This production is DOA.

I see Lindsey Mendez and Beanie Feldstein as Teensy and Weensy in the I Love Lucy musical.

Radcliffe and Groff are too similar in type.

R359 has spoken, ladies and gentlemen. Don't even think of going to see this production.

I saw the last NY production of Merrily. I honestly don’t remember a thing about it. My partner had to remind me that we saw it.

TBH he also has to remind you when it’s time to go poopies.

No doubt MERRILY will sell out at the tiny NYTW. Whether it will transfer to Broadway, and I'd bet even now that it will, is the question. And how well it will sell in a larger and more expensive venue is anybody's guess.

Some Broadway people are already involved like Voldemort’s former butt boy little Patrick Catullio

Whenever I think of Daniel Radcliffe in a musical , I remember that painful football helmet ballet that Rob Ashford made him do to ruin grand old Ivy

[quote]I don’t see Daniel Radcliffe as Charley and I don’t see Lindsey Mendez as Mary. This production is DOA.

If you say so. Just try to get a ticket. P.S. If you had seen Radcliffe in THE LIFESPAN OF A FACT, you would easily be able to see him as Charley. And why don't you see Mendez as Mary? Are you going only from the roles these people have done before? That's a pretty dumb thing to do, isn't it?

[quote]Radcliffe and Groff are too similar in type.

No, they are not. They're quite different in terms of both onstage personality and physical type

I've seen MERRILY in several productions, and it's never stuck the landing for me -- with 1 exception, 20 years ago at the Kennedy Center. Thanks to subtle, unobtrusive direction by Christopher Ashley and wonderfully grounded work from the principals (Michael Hayden, Raúl Esparza and Miriam Shor), the show proved extremely moving. Somehow these wonderful actors, by dint of personality and chemistry, filled in enough of the blanks to make the piece register as never before or since (in my experience, anyway). (And Emily Skinner was spectacular as Gussie -- funny, sexy, vocally splendid.)

I adore the score and love the ambition of the piece, so I'm glad that it continues to be revived. There aren't many flawless musicals out there (SHE LOVES ME . . . GYPSY . . . um . . . um . . .), but there's more than enough that's good or great about MERRILY to make me glad to see it, even when it frustratingly falls short of its ambitions.

I've worked with Martha Plimpton and Barbara Barrie.

Like them both very much. Both are dedicated professionals who are kind, polite and hard-working.

[quote] Somehow these wonderful actors, by dint of personality and chemistry, filled in enough of the blanks to make the piece register as never before or since

For this next production, I think the character arcs could be suggested even more deeply if Lindsey walks in on a naked, hairy-chested, wiry little Daniel jack-rabbitting doughy but amiably cute Jonathan like the Energizer bunny as he's bent over the piano bench, proving that they have a good thing going. And going. And going.

Well, I’ve worked with Marta Plipton and Barbara Barre. Horrible shrews, the both of them. No thanks. Never again.

Maybe the former resented that you kept calling her "Marta Plipton."

well pardon me Miss Plip!

And Barbara Barre. 🙄

yeah looks like we hate you, too, r372. Never again.

r365 Someone posted something a while back that they planned a Broadway transfer, but they were pissed because at least one of the actors couldn't do a transfer due to scheduling

LOL

subtle, unobtrusive direction by Christopher Ashley

R377, I have no idea if it's true or not, but someone posted that Jonathan Groff got a new TV series so won't be able to continue if that MERRILY goes to Broadway.

Someone mentioned She Love Me which got me wondering if Zachary Levi has ever played Harold Hill.

Zachary seems like a Franklin Shepherd, too.

Josh Radnor is a Franklin Shepherd.

Zachary is definitely a Vernon Gersch.

Zachary is a Gwen Verdon.

Lucy is Jessie. And Jessie is messy. And Marta Plipton is a cunt.

So maybe it's genetic? Now Beanie's brother is bitching that it's "too stressful" to promote his films, a new standard for spoiled entitlement. Can you imagine if these people lived during World War II? The level of narcissism would lose a nation.

Something about Martha Plimpton screams Cunt. There’s a reason that she got a ton of buzz from Critics for her performance last year in the shooting movie, and yet her peers decided NOT to nominate her for the Oscar.

Also she’s been nominated for three Tonys and was the front runner on her first nomination and her peers failed to give her the prize that year either

Marta Plipton and Adele Dazeem starring in Chicago. On Broadway! Limited time only! Call Tele-Charge today.

I remember seeing a clip where an interviewer called Jonah ugly/fat to his face.

r386 So he's made a documentary about his therapist - a therapist he's been seeing for four years and yet has apparently made so little progress that he's actually regressing, and now unable to do his job. Great advertising there.

We'll see how long this lasts once he realises studios aren't going to put up with it.

Poor Martha got the worst features of both parents.

Was Martha up for the Bernie GYPSY or the LuPone one?

I know it’s mostly those on the right that refer to some of us as “snowflakes“ but this is ridiculous:

[Quote] you won’t see me out there promoting this film, or any of my upcoming films, while I take this important step to protect myself. If I made myself sicker by going out there and promoting it, I wouldn’t be acting true to myself or to the film.

I hate sounding this insensitive but man the fuck up

[quote]r375 And Barbara Barre

It’s pronounced [italic]Fabares!

Didn’t Mo’Nique trash her career because she complained about doing press for movies?

Mo' wanted to be paid to promote.

Jonah Hill is the new Beyonce!

[quote] Radcliffe and Groff are too similar in type.

On what planet is tiny, wiry little Daniel Radcliffe the same type as Jonathan Groff? Radcliffe almost exclusively does tiny, weird little indie films post-Potter (he’s playing Weird Al Yankovic next) and Groff was the lead detective in a David Fincher show and had a significant action role in the last Matrix.

These two would never even be considered for the same roles. Just from physicality alone, Groff is a leading man and Radcliffe is not.

[quote]Groff is a leading man

Are you the same person who listed Tim Federle as an A-lister?

Marta Plimpton as who in Gypsy? Tessie Tura? A Toreadorable?

Groff and Radcliffe are both beta types that women want to mother.

[Quote] Marta Plimpton as who in Gypsy? Tessie Tura? A Toreadorable?

Agnes!

Isn't Hill also admittedly stoned all the time?

Martha Plimpton would be amazing in Gypsy as Rose. I have a feeling she could tap into rage. And by tap in, I mean walk around with it easy as they like

Martha would be OK as Grantziger’s secretary who tells Rose “Well, you could get a JOB, dear.” She’d infuse it with the proper grade of cuntery.

[quote]I've seen MERRILY in several productions, and it's never stuck the landing for me

What does that means? "Stuck the landing"?

r406 needs to look up "Kerri Strug."

I wonder if seeing his beloved little sister go belly up in Funny Girl (on his dime, supposedly!) sent Jonah over the edge?

Maybe Jonah knows that journalists would constantly be asking him about Beanie's debacle and his place in it?

Only a hunch.

Believe it or not, Martha Plimpton was one of the final choices to play Nellie in LCT's South Pacific. Bart Sher was intrigued with the idea of a less ingue-ish Nellie.

[quote]Bart Sher was intrigued with the idea of a less ingue-ish Nellie.

Of which there have been many, including Mary Martin. Plimpton feels too savvy and world weary for Nellie.

I'd believe Martha AS Mary Martin, muff diving and all.

[quote]I remember seeing a clip where an interviewer called Jonah ugly/fat to his face.

I call them like I see them.

Also Groff is bulked up now (fbow) which makes them even less similar

Was Bart Sher intrigued with a Nellie that couldn’t sing the score? We already had that with Glenn’s tv version.

The reason actors are paid millions per movie aren't just because of their talent and drawing power. It pays for all the press they have to do. It pays for all the fan autographs they sign. It pays for all the tabloids invading their privacy,

Putting a sock in one’s underwear is not considered bulked up!

[quote] Also Groff is bulked up now (fbow) which makes them even less similar

fbow?

fbow = For better or worse. (I think.)

Groff was Amish. He should have been bulked up from birth carrying bales of hay and building barns.

"Broadway needs a jukebox musical of Tracy Chapman songs."

No, it doesn't. It needs composed musical theatre SCORES.

Cleo Laine helmed the First National Tour as the Witch, and by all accounts was terrific.

"But it's a great work as it is and it can't be 'fixed' and one must accept it on its own terms.'

Doublespeak much?

"I saw a lot of the Sondheim shows in previews, and frankly I wasn't very smart about them. When I saw Merrily, I thought it was a disaster, and didn't like the songs. Sunday was okay, but a bit of a bore. Into The Woods seemed like a misfire. I love all these shows now, and I'm embarrassed by how much I misjudged them."

Who says? Why are you second-guessing yourself? You were absolutely right on all counts on your first impression (especially MERRILY), and I agree with those assessments to this day.

I've never seen Martha Plimpton, like Cynthia Nixon, Jeffrey Wright and Philip Seymour Hoffman, ever give an untrue performance. I couldn't care less about her real-life persona.

Couldn't agree with you more, r386.

I'd go see Martha Plimpton play Rose. She'd sure fit the part better than many others that have played it and would get all the required laughs.

I like JGroff but he is no one’s idea of a leading man.

Groff is a more of an attractive character actor. He can be the leading man if he needs to, but he's never going to be a huge action star. There's something too boy next door about him.

Apparently he's somebody's idea of a leading man, R423.

See also: Gavin Creel, R424. (Although I wouldn't have minded him, I think, as Georg in She Loves Me instead of Kodaly, where he was badly miscast.)

People did tell him that, back when he was promoting his first album.

I don't think Franklin Shepard requires a central-casting leading man. I see him more as a pleasant looking dweeb who gets a little polish along with his first burst of success. Groff should do fine.

Mark Umbers looked like a movie star, I recall.

I'd pay thru the nose to see Plimpton's wild Rose.

Maybe Martha can play Miranda? DWP isn’t quite dead. Yet.

The English Franklin was very fuckable.

R432 This one was supposed to be English too. Andrew Garfield was originally offered the role but he turned it down, so they replaced him with Groff.

[quote]I like JGroff but he is no one’s idea of a leading man.

Just David Fincher, but I guess he’s a no one.

Mark Umbers was too gay.

At the performance I saw, when Beth’s mother at the wedding says, “At least he’s not black” I yelled out, “No, but he is a fag.”

But the original Franklin was Jim Walton, who was a perfect Nilla Wafer.

I'm sure DLers won't have any comments to make about the requirements on this open casting call for Raoul in Phantom

[quote] Maybe Martha can play Miranda? DWP isn’t quite dead. Yet.

Cool idea in fact (except for, you know, the show sucking). She's got the right energy vs Leavel unfortunately

I saw Umbers in Merrily and Sweet Charity. He registered as gay in neither.

[quote] Just David Fincher, but I guess he’s a no one.

Lol. Fincher didn’t hire Groff because he was a leading man. He hired him because he was weird and uncomfortable and it worked for the character.

The London Menier MERRILY, also directed by Maria Friedman, is still up on youtube for free. And it's not a bootleg but an authorized filming.

Groff is perfect casting for Franklin because of his effortless likability. Far more important than classic leading man looks.

I wonder who they wanted before settling for Lindsay Mendez.

The night I went to see Merrily at the Menier Chocolate Factory some obnoxious blond twink was making it pretty clear he was Umbers’ bf. Like I could give a fuck. I spotted Mary Beth Piel a few rows ahead of me and kvelled about her performance as the cunty mother-in-law on The Good Wife.

Jim Walton wasn't the original Franklin Shepard. He replaced James Weissenbach 3 or 4 weeks into previews. Weissenbach was the son of Prince's lawyer (I think) and had had no stage experience.

I just hope this new revival of Merrily eschews bad wigs, sideburns and facial, hair, which can't hep but seem phony and artificial when it comes and goes so quickly on characters as they age, or in this case, youthen. Or play different characters. And especially in a tiny space like NYTW.

I hope they add a dream ballet.

Julie Benko performs "I'm the Greatest Star" at Broadway in Bryant Park.

I’ve seen Martha Plimpton on Bway twice and each time, she was terrific

R444, James Weissenbach didn't even last for 2 weeks of previews.

I saw Weissenbach as Franklin. Utterly unmemorable, as was the show in general. Ann Morrison was the only interesting thing in it. I have since seen productions that made a better case for the show, but I still find it somewhat trite—with some decent songs. Good enough vehicle for college actors, but hardly some misunderstood treasure.

ZIP at 3:20

I actually like Plimpton in that and her voice is strong. She was done in by bad costumes, bad choreography and bad scenery!

Merrily doesn’t work for people who want “gotcha” analysis that makes a large point about how Frank sold out or about how people lose their dreams. The reality is that most of us make a series of choices that make sense individually, but push us away from what we wanted. Even at the beginning of the show, the characters aren’t bad people. They’re angry, disappointed, and unhappy.

This doesn’t resonate for everyone. But for me, the story is about watching the characters turn from unhappy to idealistic. It’s not about their individual choices, but about this very sad journey. It’s heartbreaking to watch that in reverse.

Thunder Road

Plimpton doing Zip was horrible.

Sadly, Plimpton's "Zip" was one of the brighter moments in that production.

By contrast, here's Bebe Neuwirth landing the number while doing half as much.

Neuwirth has the best costume, choreography and look. Plimpton looked cheap but sounded good.

I saw Norman Helverson as Franklin in an impromptu performance in Steve’s dungeon in 1976. We were mesmerized while Steve directed the string quartet with one hand and aerated the dungeon with poppers - REAL POPPERS - with the other.

Hal had a “headache”. But you know Hal.

Norman was the definitive Franklin. If you were there, you know.

Marta Plipton IS Nelly Furbush!

Julie Benko seems totally ordinary to me. Really don't see what the excitement is.

[quote]Julie Benko seems totally ordinary to me. Really don't see what the excitement is.

She's not the entitled Fatty McFatterson. That's reason enough.

Dixie's Zip...

Julie Benko is making the most of her moment in the spotlight. Who wouldn’t? I hope something good comes out of this for her.

In Plimpton's defense, it's hard to land a song like Zip anywhere today besides an old age home. No one's going to get 3/4ths of those references. Her voice does sound good and she has a lot of stage presence. She'd be great in many of the classic Broadway broad roles, but she's aging out of most of them. She might still have a Rose, Dolly, or Mrs. Lovett in her.

Whoever told Dixie Carter she could sing ? Her inflections and phrasing are atrocious....not just on the posted clip, but in general.

Blah blah blah sondheim blah blah blah Follies blah blah blah merrily blah blah blah weissenbach blah blah blah Dorothy collins blah blah blah I saw it and I loved it blah blah blah I saw and I hated it blah blah blah black witch Blah blah blah sondheim blah blah blah Follies blah blah blah merrily blah blah blah weissenbach blah blah blah Dorothy collins blah blah blah I saw it and I loved it blah blah blah I saw and I hated it blah blah blah black witch Blah blah blah sondheim blah blah blah Follies blah blah blah merrily blah blah blah weissenbach blah blah blah Dorothy collins blah blah blah I saw it and I loved it blah blah blah I saw and I hated it blah blah blah black witch Blah blah blah sondheim blah blah blah Follies blah blah blah merrily blah blah blah weissenbach blah blah blah Dorothy collins blah blah blah I saw it and I loved it blah blah blah I saw and I hated it blah blah blah black witch

A post worthy of a 9 year old, r466. Well done; now off to bed.

Osnes suing the NY Post:

You'll never get away from me, gay theatre bitches....

from that Laura Osnes article:

[quote]Nevertheless, the two-time Tony Award-nominated actress was replaced in a touring production and two concerts of the musical Bonnie & Clyde in London’s West End. She now performs three times a week as a vocalist in a musical circus show in Nashville, Tennessee, and recorded songs for a record to be released in a few months.

I hadn't realized she was getting work at all, frankly.

R457, Neuwrith had the advantage of singing Zip as the character it was written for--a sophisticated reporter. Plimpton had to sing it as a completely different character--a sleazy nightclub performer.

If Plimpton had been in a production that presented the song as originally intended, she would have been much better. She certainly has a better voice than Neuwrith.

Bebe had the moves though. I don't think Plimpton could have ever conquered them and they make up for a lot of those missed references.

R472, but you still have to listen to Bebe's creaky, cracky voice.

Stritch did Zip in the 1950s revival.

Stritch did Zip with Dixie Carter in the lead at the Long Beach Civic Light Opera in the 90s

Regarding Franklin Shephard in MERRILY WE ROLL ALONG, it has been wisely pointed out over the years that it really helps the story if the character comes across as extremely attractive in terms of looks and personality, which helps to explain why both Mary and Charley are deeply in love with him, if not in the same way, and why their friendship lasts for so many years despite all the angst and conflict among them. So I think Jonathan Groff is pretty much perfect casting.

[quote]She now performs three times a week as a vocalist in a musical circus show in Nashville, Tennessee.

Sounds like many steps down from her previous roles on Broadway.

I hope not getting the vaccine was worth it, Laura.

[quote]it's hard to land a song like Zip anywhere today besides an old age home. No one's going to get 3/4ths of those references.

Worse. I was going to send the link to a couple of (straight) friends who love Cheers, when I realised they wouldn't even know who Gypsy was.

What exactly is a musical circus show?

What exactly IS a Nashville?

[quote] What exactly is a musical circus show?

The final dream sequence from Lady in the Dark or the Diane Paulus production of Pippin. And in fact most circuses have a strong musical component.

I loved Plimpton doing Zip when I saw that production live.

When was the last time Plimpton or Bebe has do any acting at all? I haven’t seen either on TV or stage.

[quote] When was the last time Plimpton or Bebe has do any acting at all? I haven’t seen either on TV or stage.

Bebe just did The Bedwetter.

Marta Plipton has had near constant TV work

Bebe just had a major supporting role in the Julia Child miniseries. I think they’re going to do a second season of that.

Plus with the Fraser reboot, there’s probably an opportunity to do a guest star episode or two.

worst thread ever for gossip?

Sprung’ Reunites ‘Raising Hope’ Stars Martha Plimpton and Garret Dillahunt: ‘It Just Felt Easy and Breezy’

Is Osnes’s beef with the Post based on the fact she “withdrew” and wasn’t “fired”?

Yeah

Yes, Osnes says the rule for vaccination changed suddenly so she had to withdraw. She could have easily gotten a vaccine then,

So now she's singing in the circus.

Not sure I agree, R476. I don't thin k Charley and Mary fall in love and stay in love with Frank because he's good-looking. I think they're attracted to his smarts and his talent and probably his charm, too, but you wouldn't stick with someone for years because of his looks.

Benko barely reaches the level of lower tier regional company. There’s nothing there. If this is the up and coming generation, Broadway is in BIG fucking trouble.

R481 🙄

Plimpton and Neuwirth work ALL the time. Neuwirth is in the Julia Child series on HBO as a major character and Plimpton works CONSTANTLY in series. Please.

What’s the big deal with Frank wanting to produce pictures? Why are his friends so self centered and unsupportive of him, just because his dream changed?

Mary and Charlie act like Frank owes them something, and he doesn’t.

[quote]Is Osnes’s beef with the Post based on the fact she “withdrew” and wasn’t “fired”?

Maybe it's partly that, but if I read this article correctly, Osnes claims that the option of being tested and submitting a negative test was never presented to her, whereas the Post implied that it was.

Because, r492, he got seduced by money and fame and left them in the dust--he and Charley had planned a professional future together and then he had no time for Charley. Mary got upset, I suppose, because she idealised him and he disappointed her perfect picture of him.

R489, of course I knew someone was going to disagree with me, just because this is the DL. What I wrote was that I think Frank should be very attractive in terms of looks AND personality, and I meant that he should have those qualities on top of whatever talent he possesses. Looks may not be THE most important element here, but on the other hand, I don't think the story would work at all if Frank looked like a schlub. Many people, myself included, feel the production of MERRILY that worked best was the Sondheim Festival production in D.C., and that partly because Frank was played by Michael Hayden at the height of his physical beauty and charm.

What the hell are you arguing about, r496? I don't think anybody ever proposed that Franklin should be cast with an unattractive, unappealing actor.

So it's not possible, r 496, that someone could disagree with you on the merits, but only because this is the DL and that's what we do? I saw the Kennedy Center Merrily, too, and liked it a lot--including Michael Hayden's performance. But I maintain that physical beauty isn't an essential element of Frank's appeal.

On the other hand, this particular argument is a lot like arguing whether that Atlantic Ocean is better than the Pacific, to quote from Radio Days.

Well, the Pacific Ocean is obviously superior.

I've been seeing ads for that Sprung show a lot, so when someone commented above on Plimpton aging out of roles, I thought of that. On Raising Hope she and Dillahunt were contemporaries, but in the Sprung ads she looks old enough to be his mother. (Turns out she's playing his former cell mate's mother.) That may say more about Dillahunt, who looks like he's barely aged in a decade, but still, kind of harsh for her.

[quote]Multiple sources told The Post that “Kinky Boots” director Jerry Mitchell was flown out to Chicago Wednesday by producer Kevin McCollum to see the struggling stiletto and give his thoughts. Other directors have made the trek, too. A “Prada” rep did not respond to The Post’s request for comment.

[quote] Because, [R492], he got seduced by money and fame and left them in the dust--he and Charley had planned a professional future together and then he had no time for Charley. Mary got upset, I suppose, because she idealised him and he disappointed her perfect picture of him.

Charlie planned this professional future in his head, not Frank. People grow and change. Not always in the way you would like them to. But being petulant about it is just childish.

R444 James Weissenbach had some stage experience. I saw him as Barnaby (or was it Cornelius?) in a Carol Channing "Hello, Dolly!" tour at Westbury Music Fair. I remember this because he bio in the program said that he was going to be the lead in the new Sondheim musical "Merrily We Go Along" the upcoming season. He had some other credits on his program as well, so he wasn't a total novice

R476 The point is that Radcliffe would never make sense as a Franklin and Groff could never be a Charley Kringas.

So whoever said they’re the “same type” is delusional.

But they cast Groff as Seymour in "Little Shop" and he couldn't be cast as Charley? Put glasses on him. That seems to be what they do for the former show.

DeuxMoi just posted a blind item saying another Spring Awakening revival is in the works for this winter.

The polarizing star is obviously Lea. Who is the leading lady they’re hinting will play the new Wendla?

[quote]But I maintain that physical beauty isn't an essential element of Frank's appeal.

Not to belabor this, but: While I wouldn't say that physical beauty is an ESSENTIAL element of Frank's appeal, I would say that it helps, because the point is that he needs to be an exceptionally attractive person in terms of some combination of his charm, personality, looks, and talent.

[quote]The point is that Radcliffe would never make sense as a Franklin and Groff could never be a Charley Kringas.

Agreed 100 percent.

[quote]But they cast Groff as Seymour in "Little Shop" and he couldn't be cast as Charley?

That’s only because Groff has spent the last decade firmly up Michael Mayer’s ass. Everyone knew he was wrong for Seymour, who, like Charley Kringas, is supposed to be a nerd that no one wants to fuck.

If anyone else was directing that revival he wouldn’t get near Seymour.

r506

WHY?? Do we need another Spring Awakening? Was it necessary the 1st time? I just didn't get the show

[quote]What the hell are you arguing about, [R496]? I don't think anybody ever proposed that Franklin should be cast with an unattractive, unappealing actor.

Luis Guzman IS Franklin Shepherd!

Marty Feldman would've made a great Franklin in the original production.

So Groff’s stupid documentary is responsible for both Lea’s comeback AND now yet another revival of one of the shittiest musicals ever.

Unforgivable.

And r502 stamps his little foot and flounces off. Not a moment too soon, either.

[quote] I've been seeing ads for that Sprung show a lot, so when someone commented above on Plimpton aging out of roles, I thought of that. On Raising Hope she and Dillahunt were contemporaries, but in the Sprung ads she looks old enough to be his mother. (Turns out she's playing his former cell mate's mother.) That may say more about Dillahunt, who looks like he's barely aged in a decade, but still, kind of harsh for her.

I watched the first episode (not very good) and they have aged Martha up a bit to make her look more weather beaten than whatever age the character is supposed to be (think Jerri Blank). So it's possible the character is late 40s/early 50s tops. And Dillahunt's character is definitely late 40s. He's been in prison for 26 years for selling weed, and they make several comments about his age.

[quote]Groff has spent the last decade firmly up Michael Mayer’s ass. Everyone knew he was wrong for Seymour, who, like Charley Kringas, is supposed to be a nerd that no one wants to fuck. If anyone else was directing that revival he wouldn’t get near Seymour.

While I think there's a general consensus that Groff is very good looking and cute, he has always projected a very relatable, likable, somewhat vulnerable personality in his roles, rather than coming across as a very strong, conventional leading man. That's why I think his casting as Seymour worked even though he's more conventionally attractive than most people we've seen in the role.

Regarding that blind item, it doesn't make much sense that any actress would have to "leave her beau" to star in a revival of SPRING AWAKENING (or any other show), so maybe the reference is to a role that the unnamed actress is currently playing? Or maybe it just means that she'll have to spend less time with her real-life beau to do the show?

Mayer mis-cast Groff as Melchior in the first place, is it a surprise he mis-cast him as Seymour too?

I'll bite, R517. Please tell us why Groff was miscast as Melchior. (This should be interesting.)

[quote] (This should be interesting.)

And I should have a pony.

I want an Oompa Loompa now, Daddy!

[quote]r490 Benko barely reaches the level of lower tier regional company. There’s nothing there.

That girl is the fuckin’ JOAN OF ARC of the season! She rode in there to SLAY the dragon. Named Beanie.

And the village thanks her.

[quote]R516 Regarding that blind item, it doesn't make much sense that any actress would have to "leave her beau"

It may be a pun on the word “bow.” A lot of actresses tie their beef curtains into a bow to “pop out” and steal focus. (I’m not saying I’ve ever done this, myself.)

The character of Wendla’s too young for this sophisticated trick, so that’s what it means.

Martha Pimpton *IS* Wendela

r518 Casting a naive closeted farm boy as the radical forward-thinker? And no, he wasn't talented enough to overcome those personal 'qualities' in the role.

R524. If you didn't know Groff was actually a "naive, closeted farm boy," you would never have gotten that from his performance as Melchior. Plus, he was closeted only for professional reasons, which is unfortunately true of MANY young male actors, for obvious reasons. He was not closeted in his personal life.

Your comments are stupid.

Ugh, I really wish when you block someone (as I'm sure most of us have blocked R496) DL wouldn't still keep their post marked as unread. Erasing it is a minor pain in the ass.

"Erasing"?

There's no revival of Spring Awakening this season. The last revival was a huge financial flop, and the original barely made a dime. Unless LCT or Roundabout does it, but Roundabout already has a turkey with 1776 on their hands.

[quote]That girl is the fuckin’ JOAN OF ARC of the season! She rode in there to SLAY the dragon.

I think you have your saints confused.

r525 Aww, did I insult your 'leading man'?

It’s crazy that Jonathan Groff has played Seymour and Daniel Radcliffe has not.

Oh, leave him alone, St George. He writes (and reasons) like a 14 year old kid.

Well, I do look young…

I'm going to use this opportunity to give a shout out to St. Margaret of Scotland...

[quote]St. Margaret was the queen of Scotland in the 11th century. During her reign, she was an entrepreneur when it came to fashion. She employed foreign merchants to bring her beautiful fabrics and new fashions from all over the world.

[quote]So now she's singing in the circus.

And she's not even a fat lady yet.

"But it's a great work as it is and it can't be 'fixed' and one must accept it on its own terms.'

Double speak much? What the fuck does that mean? It's not my fault you were too slow not to be aware of Sondheim's genius when Merrily opened.

" Follies" can be fixed very easily with an all-black cast.

If the Merrily revival goes to Broadway, Lindsay Mendez has her second Tony on lock.

Can’t imagine a more perfect Mary.

She does seem right for it, doesn't she? I don't know who I'd have preferred for Frank and Charley, but Groff and Whatsisname don't thrill me.

He-e-r-e's Johnny!

[quote]It’s crazy that Jonathan Groff has played Seymour and Daniel Radcliffe has not.

Neither one of them should be playing Seymour. Little Shop is the Funny Girl of off-Broadway. It was crafted in a specific way.

Little Shop of Horrors has a very specific feel which very few professional productions after the original got right.

It is not to be played as a cartoon because then it loses its bite. It just becomes silly.

It's not to be played on Broadway in a huge house with a huge monster because then it loses the intimacy. What's the purpose of girls singing, "Tell your mama something's gonna get her. She better, everybody better beware" if nobody feels that something might actually happen to them.

It's like that feeling that you got as a teenager on Halloween night. There's all this scary stuff out there, but it's still exciting to run around in the dark anticipating what might happen.

I weep for all of you who missed the original off-Broadway production because it was one of the best kick-ass shows I've ever seen. Every element was in perfect harmony creating a great night of theater.

It was indeed magical r541.

Magic does not repeat.

r542, were they doing the vines in your face at the end when you saw it? I thought at some point they stopped that because people were pulling them down.

They sure were. We saw it within about a week of opening.

[quote]I think the critical response to this Merrily in London a decade ago was based on the fact that for a show with a reputation for being difficult and unclear (which I also find puzzling), the clarity of the drama was considered an asset, or revelatory, even. I suspect the critical response in New York will be kind, but not as half as effusive as it was in London.

I saw this production in the West End. I love the Merrily OCR. This production is NOT revelatory or dramatic. The problem with Merrily is that the characters are stick figures and there is no illumination of who they are or what their motive are, etc. as the show goes on. As willful as this is, it is not engaging or intriguing to try and figure out who they are because they are paper thin. This gets tedious and then boring, until you can't wait for it to end. Even by the time "Our Time" arrives, the whole thing is still a puzzle so one's level of engagement is decidedly distant, mostly with thoughts of "Wow, this sucks" and "Wow, this really doesn't work." One thing Maria Friedman's production will hopefully achieve is people will stop, once and for all, producing Merrily.

Concert versions only, please. Any further effort is completely wasted. And yes, restore The Hills of Tomorrow, etc. because the ONLY thing that ever made this work was that motif of "WHET???" which everyone can identify with from a high school commencement ceremony.

Am I the only one who feels like someone or something is working overtime to belatedly make Spring Awakening a bigger part of musical theater history?

The problem with Merrily is that it doesn't have any chorus girls! Get some good looking gams in there and it will be *the* show to see.

As the Radio City Music Hall Christmas Show has demonstrated year after year, people want to see legs! If they can turn Christmas into a show about legs, then Merrily can definitely use a few.

Duncan Sheik is a hack and Steven Sater is a hack AND a freak.

I was leaving Sprouts today and walking to my car and found myself humming -“Zip! Walter Lippmann wasn’t brilliant today!!”

Martha Plimpton doing "ZIP" in Pal Joey....starts @ 4:10 and continues to the end of the clip

Someone is certainly working overtime to convince that Jonathan Groff is a leading man type.

Isn't Zip! supposed to be a sexy strip? Why did William Ivey Long costume Martha like Pinky Lee?

Who is Pinky Lee?

[quote]Who is Pinky Lee?

Merely the greatest entertainer in history, you saggy titted whore.

Let the flaming begin!

Is it the same video as this?

And that's how you sing it.

Fine up until "Hey, Mr. Ziegfeld!" After that, it's unimpressive.

The bitch can sing.

[quote]Isn't Zip! supposed to be a sexy strip?

No, r552.

I bet Ramin is happy. Lea is a much better match.

Who's the big guy in the Lea rehearsal video?

That isn't Ramin, is it?

Well at least they now have a lead that they're not embarrassed to have sing in publicity clips

What's going into The Music Box?

I think its "SHUCKED" which I saw in Dallas as "hee haw'. It should have stayed there...

"No legs, no jokes, no chance."

100,000x better than Beanie whatsername.

I'm sick of her already.

[quote]Who's the big guy in the Lea rehearsal video? That isn't Ramin, is it?

This guy? Yes, that's Ramin.

It’s funny… she doesn’t seem at all like a TOTAL FUCKING CUNT in that video.

I bet Ramon is happy. Lea is easier to lift.

Thank you, R569.

Heres the movie version where they gave ZIP! to Vera, played by Rita Hayworth after doing away with the original character who sings it in the stage musical...I think it works....and Hayworth sure was gorgeous.

It cheapened the character of Vera, r573.

A different take on ZIP courtesy of Jane Krakowski

[quote]And she's not even a fat lady yet.

I will CUT a bitch!

Keala didn't sound so hot in that clip of the "Roses" (Gypsy) concert.

It didnt cheapen the character of Vera...in the movie she was a showgirl who "married up" and became a socialite

I know, r578. In my humble opinion it cheapened the character of Vera.

It cheapened the character of an adulteress?

Vera as written, r580, had a sophistication about her that a showgirl wouldn't have. Vera isn't technically an adulteress in her mind. She and Joey have...an arrangement.

She keeps a gigolo on the side in a little den of iniquity. Classy.

....

This showed up in my "Discover Weekly" set on Spotify today. I don't know what that says about me ....

[Quote] Vera, as written, had a sophistication about her that a showgirl wouldn't have.

What about a chorus girl?

Or a Dreamgirl?

Color clips o f the original Pal Joey with Kelly. Silent.

I had a body like this once ... and then I woke up.

r560, you better watch that clip of Rita Hayworth singing Zip! at r573 if you think it's not supposed to be a sexy striptease.

[quote]The problem with Merrily is that it doesn't have any chorus girls! Get some good looking gams in there and it will be *the* show to see.

"Merrily We Roll Along" is certainly no "Ankles Aweigh."

It's comic and sexy in the stage show, r589, which, as you well know, I'm referring to.

That bootleg footage of PAL JOEY is so fabulous, even if silent, a wonderful peep into what a splashy Rodgers & Hart musical hit looked like in the Broadway of1940. Talk about chorus girls with good-looking gams! Love all the spangles.

And if you watch closely you'll get glimpses of chorus boys Van Johnson and Stanley Donen, as well as the lifts in Gene Kelly's dance shoes. And adorable June Havoc, who seems to be the star of the show.

[quote]And adorable June Havoc, who seems to be the star of the show.

Just like Mama promised!

[quote]Aww, did I insult your 'leading man'?

I specifically wrote that Groff is not a traditional, conventional leading man type but more a modern-day leading man type, which is something quite different, I'm sorry if you read at a third-grade level, you nasty bitch.

If Merrily goes to Broadway, I'll bet Garfield replaces Groff.

[quote]Someone is certainly working overtime to convince that Jonathan Groff is a leading man type.

Incorrect, and I'm sorry you're another of the DL posters who can't read.

Hi...

New thread.

Ankles Aweigh!

BAJOUR!

FLAHOOLEY!

The last word...

BAJOUR, DAMMIT!