Jason Robert Brown's "Hope"

I know it's been a while. Beyond the usually insanity of the school year, the run-up to the election and the election results sapped the will to write right out of me. Although I don't post a ton about politics on this blog, a quick search will probably give you a good sense of my political leanings. Consequently, you wouldn't be all that surprised to find that I am not, in any way, shape, or form, at all happy about the outcome of the election. What's more, the fallout has been pretty devastating. The uptick in violence and harassment of certain groups of people, including minorities and people who are undocumented, has been especially difficult to process. Since I now live in the Midwest (in a state that did not go blue and in a county that also did not go blue), I feel especially isolated. While my friends and colleagues tend to have the same mindset that I have, the majority of people who surround me do not.

This continued stress and uncertainty about the future (both personal and national) are taking its toll. However, as often happens in times like these, some pieces of pop culture have emerged to make me feel, if not quite better, then at least not as alone. Jason Robert Brown, the composer-lyricist for shows such as Parade and Songs for a New World, wrote and debuted "Hope" the day after the election. What I find particularly helpful about the song is that it doesn't end with a cheery, "everything is going to be okay" platitude. Instead, Brown, as he often does in his musicals, acknowledges the difficulty of the situation while also reminding us that "the work begins."

If you want something a little more angry and still politically charged, there's also Brown's biting "A Song About Your Gun," which he wrote in response to the Orlando shooting. It mixes a very catchy tune with some biting lyrics, and for me, it makes an effective "get up and do something productive about this mess we are in" anthem.

Looking Ahead to the 2016 Tony Awards

Next Sunday is the 2016 Tony Awards, and as usual, I feel more than a little unprepared for the show. However, I also think I'm better informed than I have been for the past few years thanks to a wealth of online resources (and because it seems pretty certain that Hamilton will be a juggernaut). Below are a few of my favorites just in case you are looking to do some cramming for the Tonys or in case you are looking for some great information on Broadway and theatre.

My go-to resource for all things Broadway is BroadwayRadio. I've been a longtime listener to their Sunday podcatsts (and Peter Filichia wrote the first theatre book I ever bought for myself). Recently, they've expanded their podcast, so they have one each weekday morning in addition to the one on Sunday. These daily podcasts are shorter (usually around 15 minutes each), and they include review round-ups for shows that have just opened as well as news related to Broadway and the theatre world. The hosts (James Marino and Matt Tamanini) have an obvious love of theatre, and their well-informed and strong opinions are always thoughtful and engaging. Additionally, BroadwayRadio seems to be acquiring new theatre-related shows on a weekly basis, so this is definitely a resource to check out!

Love them or hate them, The New York Times is a wealth of information on Broadway, and their Tony Awards section is extensive, with news, interviews, and videos. I also love following the theatre critics' liveblog and Twitter accounts during the awards telecast.

While this isn't a resource dedicated to theatre, I'd be remiss if I didn't include the interview Broadway producer Scott Rudin did with Terry Gross on Fresh Air. He had some wonderful insights into the backstage world of Broadway. Additionally, if you go into the Fresh Air archives, you can find some excellent interviews with other theatre personalities, including Stephen Sondheim, Sheldon Harnick, and John Kander.

Happy reading/listening!


Yes, I know I posted this last year. And yes, I still think it applies.

Edelweiss: A Rumination on Rogers and Hammerstein's Underappreciated Classic

According to the liner notes for a CD I bought many years ago (when I still bought CDs), “Edelweiss,” Rogers and Hammerstein’s song about the Austrian flower, is one of the most moving songs ever.  Even without the hyperbolic wording, it is easy to scoff at such a thought.  The song seems like a sentimental side note within an even more sentimental musical and movie, a minor selection within the maudlin excess that is The Sound of Music.  At first glance, it doesn’t even seem to completely fulfill the definition of moving.  For most of the population, moving means grandiose declarations and copious weeping.  Undoubtedly, musical theatre has offered numerous songs with more outright passion and pathos; from the Rogers and Hammerstein canon alone, songs such as “We Kiss in the Shadows,” “I’m in Love with a Wonderful Guy,” and “You’ll Never Walk Alone” offer considerable dramatic flair.  By comparison, “Edelweiss” is a short, simple, and somewhat repetitious love song to nature.  It lacks the tragedy of young lovers separated by circumstance, the exhilaration of falling in love for the first time, or the comfort in understanding that no one is truly alone.

However, to simply dismiss “Edelweiss” as a clichéd ode to flowers does a great disservice to the song and its composers.  One part of the song’s undeniable appeal and moving quality does have to do with its context within the film version of The Sound of Music. 

Alone in the spotlight, seeing the Nazi guards waiting to take him into custody so he can fight in the army, Captain Von Trapp starts singing this simple tribute to his homeland, a place that, according to the Nazis, no longer truly exists.  In the film version, Christopher Plummer’s purported dislike of the project makes it even more meaningful.  Even as he manfully sings and strums, Capt. Von Trapp’s voice cracks as he realizes the enormity of what has happened.  For just a moment, Plummer’s cynicism fades, and he allows the audience to see the vulnerability and sadness lurking beneath the stoic façade.  His family, led by the incomparable Julie Andrews, joins in and urges the audience to sing too.  I still remember my 8^th grade teacher’s explanation of this moment – “It’s like singing the National Anthem in the face of defeat.

Despite the intense emotions associated with the scene, a close examination of the song reveals its considerable strengths without the context of Nazis, Austria, and Julie Andrews.  “Edelweiss” was Oscar Hammerstein’s final work before succumbing to cancer.  Unlike the obvious morality of “You’ll Never Walk Alone” or “Climb Ev'ry Mountain,” “Edelweiss” offers a more restrained method of inspiration.  While time and life are fleeting, some things remain unchanged.  In this sense, “Edelweiss” is also one of the most Romantic (with a capital R) of Rogers and Hammerstein’s songs; nature remains constant and provides a sense of comfort within this ever-changing world.  The music takes a similarly understated and simplistic approach.  Stripped of histrionics and vocal gymnastics, the tune emulates traditional folk music.  This is not a song that lends itself to lush orchestrations or complicated choral arrangements; instead, it embraces the sincerity and spontaneity that usually only comes with impromptu singing.

As for its inclusion on the most moving songs of all times list, it is difficult to take a sale-priced CD at the bookstore as the world’s foremost authority on music.  However, in the case of “Edelweiss,” perhaps it is on to something…

The 2015 Tony Awards: The Host & Best Musical Nominees

The 2015 Tony Awards were earlier this month, and while I came in knowing very little about the shows, I found it to be a mostly entertaining night. While there were some egregious missteps (flat jokes, problematic musical numbers, the deeply awful "In Memorium" presentation), overall, it was an entertaining and enjoyable night celebrating theater. While there are some great play-by-plays and reviews online (The New York Times always has a great Tonys section), I wanted to add my thoughts to the ones already out there. So, let's rewind to earlier in the month and relive the great and not-so-great moments.

The Hosts - I have to admit that I'm torn about Kristin Chenoweth and Alan Cumming. On one hand, they brought a lively sense of irreverence to the proceedings. At their best, it was a little like watching the Tonys with your two snarky, opinionated theatre friends who mock everything but in a loving and joyous way (as opposed to a bitter and angry way). For instance, watching Alan Cumming plug Josh Groban's performance for 90 minutes or so was funny because it was obvious that Cumming thought the constant reminders were obnoxious. I also enjoyed the little musical interludes that the hosts did before the commercial breaks.

However, there were times when the hosts (or the writers or both) went too far and the jokes landed with a thud or failed to launch at all. Case in point: After an amazing performance from Fun Home (more on this in a moment), the audience was treated to a lame E.T. joke. As Dave Itzkoff at the Times put it:

If you're really mad at Game of Thrones, remember you could have seen this on the Tonys. pic.twitter.com/sgUPKkUVet

— Dave Itzkoff (@ditzkoff) June 8, 2015

Let this be a lesson that sometimes less is more and that, if you are going to do a lame joke, then at least plan to do it after a crappy performance.

The Best Musical Nominee  Numbers
Fun Home - For most people, this was THE number of the night. Sydney Lucas, who plays the youngest version of Allison, showed some major acting and singing chops in "Ring of Keys." While this number doesn't seem like an obvious one for a Tonys telecast (most shows went for big, splashy, and fun production numbers), it was perfect.

Something Rotten! - While it was very meta (the song is all about musicals and the sometimes preposterous tropes and conventions they contain), it was a nice way to kick off the night. Also, anything that mocks Les Miserables gets a pass in my book.

The Visit - It is always nice to see Chita Rivera performing, especially when she is performing Kander and Ebb. Sure, it was befuddling (Chita is dancing with a younger version of herself, and according to those who have seen the show, the men in masks are supposed to be eunuchs), but it's Chita and Kander & Ebb.

An American in Paris - I don't know why, but I have an unexplainable animosity towards this show. I think that part of it stems from the fact that it (according to all accounts, rightfully) bested On the Town in the choreography category, but the Tony number it selected didn't endear it to me either. It was the perfect example of why medleys don't usually fare well in this venue. It was overstuffed and rather confusing (if you didn't know anything about the show, this probably wouldn't help you).

Revisiting Smash a Year after its Demise

Many, many things of note happened while I was taking a break from the blogosphere, and one of the most interesting (at least to me in relation to this blog) was the strange creature that was Smash. When it was first announced, people were taken with its solid pedigree from both the film/tv (Stephen Spielberg! Anjelica Huston! Debra Messing!) and theatre (Marc Shaiman and Scott Wittman! Theresa Rebek! Megan Hilty!) worlds, and its premiere opened to a lot of fanfare and some solid reviews. However, almost from the beginning, the show was plagued with numerous problems in front and behind the cameras.

A lot has been said about the rise and fall of Smash, including an intriguing behind-the-scenes look by Marc Shaiman, the insightful and delightfully dry review by The New Yorker’s Emily Nussbaum,  and a series of recaps from The A.V. Club, the latter of which includes the wonderfully snarky (and accurate) summation of the series as a “long parade of talented people and Katharine McPhee realizing the show with such promise they signed on for has become… this.” Given all of this and the fact that the show lasted a mere 32 episodes, it seems like everything that needs to be said about Smash has been said. However, thanks to the magic of YouTube and its “Watch It Again” section, I found myself revisiting some of Smash’s highlights and lowlights, which got me to thinking about the show as a whole.

One of the issues with Smash is that it often garnered the wrong kind of attention, especially near the end of its brief tenure. After a thrilling pilot, which culminated with Ivy (Megan Hilty) and Karen (McPhee) vocally duking it out with the rousing “Let Me Be Your Star,” the show made a series of missteps that alienated its natural fanbase (theatre people). The characters lacked subtlety and consistency, deus ex machina seemed to happen every week (Grace Gummer comes to help her mother [Anjelica Houston] see the error of her ways before going off to count trout or salmon or something), and even the most basic plot points and details seemed ridiculous. By the show’s end, the small audience that remained mostly consisted of hate-watchers who wanted to comment on Karen’s awfulness or Julia’s (Messing) questionable scarf choices and annoying son. In all honesty, reading the recaps and forums at places like the departed Television without Pity were much more entertaining and lively than anything depicted in the Smashverse.

However, thinking about the show and watching clips a year after it ended has been an enjoyable experience. Yes, the show is still deeply flawed, and yes, Karen/McPhee continues to be its weakest link, a distinction that is impressive since the show had so many problems. However, minus the animus and the derisive, if often deserved, commentary surrounding the show in its death throes, Smash is indeed entertaining in a non-ironic way. There are some very good performances that transcend the terrible character development; Hilty, Messing, Jack Davenport, Houston, and even Jeremy Jordan, who was saddled with a character that seemed custom-made to be awful, did the best they could with what they were given. Hilty, by far, was the highlight of the show, and she was able to give Ivy dignity despite the character’s whiplash-inducing turns. The other aspect of the show that truly stood out to me upon rewatching the clips was the musical numbers. There were some stinkers, to be sure (I had a very hard time connecting to Hit List, a show whose dislikable characters rival the ones found in Smash), but many of the songs are quite good. Shaiman and Wittman’s contributions, including the Bombshell songs and the wonderfully campy “A Thousand and One Nights” (ignore McPhee's contributions and concentrate on Raza Jaffrey and the rest of the cast), stand out. The second season brought some stellar numbers from Andrew McMahon, Joe Iconis, and Pasek and Paul. Even when the show’s plot was cause for secondhand embarrassment, the musical numbers, for the most part, were interesting and sometimes even excellent.

A great deal of blame has been heaped on McPhee, and she (or at least her character) was a major part of the problem. While people formed factions along party lines (Team Ivy or Team Karen), the issue of Team Karen was the Karen was very difficult to root for. Set up as the person that the audience was supposed to identify with and want to see succeed, Karen ended up being not the likable everywoman or even a flawed if ultimately sympathetic protagonist but an object of scorn who managed to be both insipid and incredibly unpleasant. McPhee isn’t blameless when it comes to Karen’s awfulness, but she also isn’t entirely at fault. Although another actress (Laura Osnes, a true Broadway ingénue who also got her break from reality television, was considered for the role and would have been a better fit) could have brought out Karen’s more likable characteristics and perhaps even a sense of genuine goodness and vulnerability, the writing for the character undermined the ultimate goal of making her relatable. As Nussbaum cogently puts it in her article, Karen is a “human humblebrag” and “a one-note character [who McPhee] then took… down a half-note.”

McPhee’s acting chops are decidedly not up to the job of transforming Karen from a passive-aggressive Mary Sue to an actually likable character, but that isn’t the only problem at work. Despite Smash’s attempts to tell us that Karen is the most awesome, most special, most talented actress ever to appear on the Great White Way, McPhee doesn’t have the incandescent sparkle needed to match the rapturous praise her character receives in heaps. She also suffers by comparison to Hilty and the head-to-head competition between Karen and Ivy that is dictated by the script. In most cases, Hilty wins hands down. However, this isn’t to say that McPhee is untalented; there are moments where she did an okay job with Marilyn (please don’t throw things at me), and numbers like “Public Relations” show moments of the sparkle that the other characters constantly attribute to Karen. Unfortunately, this small glimmers do not an entire character make.

Over 365 days and 1,000+ words later, I’m still awed and entertained by the rapid rise and fall of Smash. The awe comes from the fact that such a talented group of people was able to assemble and make a television show about musical theatre in the first place, and the entertainment comes from both the show’s better moments and the enmity it inspired in its implosion. However, despite hindsight being 20/20, moments of Smash remain thrilling. With that in mind, I’m ending with two more of my favorite moments:

 

Yes, this is a little too "Up with People," especially since the song is about suicide, but I enjoy this version of song a great deal. If only the rest of Hit List were as raw and energetic as this.

It was a toss-up between "Let's Be Bad" and "The National Pastime" for this slot, but Hilty has so much great subtext in this number that it wins.

Book Review: "Something's Coming, Something Good: West Side Story and the American Imagination"

When I first came across Something's Coming, Something Good in my local Barnes & Noble, I immediately knew that I had to buy the book. As a theatre junkie and a huge fan of West Side Story, I thought that this book would be a great addition to my library (yes, I do have a musical theatre/theatre subset within my books). After reading the book, I've found that my initial enthusiasm might have been a little premature. Misha Berson offers an interesting and well-written look at West Side Story, but rather than presenting new scholarship or perspective on the show and its creation, the entire book is more as a compilation of previous research and information.

The book examines West Side Story from its origins to its role as a touchstone of American culture. The most engaging chapters come early in the book, as Berson addresses the show's staging, music and lyrics, and choreography. I also appreciated the chapter dedicated to the film version of the musical, which included a list of differences between the movie and the stage show. These chapters are very heavy on the research, but Berson integrates other people's thoughts and ideas in a way that is cohesive and easy to read.

Unfortunately, some of the other chapters suffer by comparison, and several seem like filler added to make the book longer. The most egregious chapters are "The Rise of the Dancer-Choreographer," "Broadway's Youth Musicals," and "West Side Story and the Rise of Juvenile Delinquency." These chapters seem unnecessary and distract from the strong scholarship that Berson brings to the rest of the book. For instance, I'm still scratching my head over the inclusion of the youth musicals chapter. Not only are the included shows unsurprising (Hair, Rent, and Spring Awakening are all mentioned), but the few connections Berson attempts to draw between these shows and West Side Story are obvious at best. These factors, combined with the fact that the chapter is a slight three and a half pages (and one page is a picture), makes me wonder why this chapter wasn't cut altogether. What makes this truly lamentable is that the basic idea (West Side Story's influence on later musicals about teen angst and rebellion) has the potential to be much more interesting than the actual chapter suggests.

Given all of these factors, I do recommend Something's Coming, Something Good, albeit with some reservations. This would be a great resource for someone who has just found the show or for a theatre director who needs to brush up on the show's history and conception. Berson has certainly done her research, and references to previous biographies, books, documentaries, magazine articles, and interviews abound. With all of this information, this book provides a good springboard for those who want to do further research into the show and read the primary sources Berson quotes. There is also a very fun section on references to the show in popular culture, which would be a great way to introduce it to a theatre class.

In short, this book provides a great introduction for people who want to learn more about the show, and it even makes sense as a quick reference guide for those of us who know a great deal about the musical's origins and influence. However, don't be afraid to skip some of the lighter chapters that only have a tangential relationship with the show.

Three Views: "You're Gonna Love Tomorrow/Love Will See Us Through"

Follies, straight from Washington D.C.'s Kennedy Center, recently opened on Broadway, and the reviews have been mostly positive. Although I probably won't be able to get up to NYC to see the show (funding and time are not on my side right now), YouTubers have been diligently putting up videos from the Kennedy Center production, and I'm certain that some videos from Broadway will be up soon. With that in mind, I thought it might be interested to look at and compare three interpretations of one of my favorite numbers from Follies: "You're Gonna Love Tomorrow/Love Will See Us Through" from the Loveland section and starring the younger versions of our four main characters (Phyllis and Ben/Sally and Buddy).

From the Papermill Playhouse Production (1998)

Although this wasn't a Broadway production, it was perhaps the next best thing. Starring Ann Miller, Donna McKechnie, and a host of other notables, this production received a lot of attention. Although the sound and video quality isn't great, you can really see the talent of the cast and the vision of the choreographer (Jerry Mitchell). I particularly like the pairing of Meredith Patterson and Michael Gruber. They do a nice job portraying their characters' brittle veneer of sophistication without delving into caricature.

From Sondheim: The Birthday Concert (2011)


Yeah, I know this wasn't a production, but there is a lot to like about the staging and interpretation of this version. Although I really don't like Jen Colella's take on "You're Gonna Love Tomorrow" (I'm giving Matt Cavanaugh a pass because he's more subtle than Colella), Laura Osnes and Bobby Steggart totally won me over with their adorableness in "Love Will See Us Through." Their wide-eyed sweetness is a charming counterpoint to the utter smarminess of the other couple.

On a terribly shallow note, I think that Jen Colella is a perfect example of why you shouldn't get a tattoo in a super-conspicuous place (or why, if you do, you might want to wear a dress with sleeves).

Kennedy Center Production (2011)

Based on this video, I'm torn about this version of the song(s). The Ben/Phyllis duet is fine if not terribly exciting, while the Buddy/Sally version is just too broad for me to get behind. I feel like the entire "Love Will See Us Through" piece is done with too much of a knowing wink to the audience; the couple's discomfort is obvious and palpable. Although I know that we are supposed to get that Sally is not terribly happy for having to settle for Buddy, pulling it back just a bit would have helped the number immensely. One thing that I really liked about Osnes and Cavanaugh's interaction (see the concert version) is that the Sally/Ben interaction is subtle but very telling. By this point in the show, we don't need to be hit over the head with the fact that Sally is not happy with Buddy. Trust me, we know.

The 2011 Tonys: Just Because You Try Doesn't mean You Succeed

Since there were only two musicals nominated for "Best Revival of a Musical," I'm going to analyze/snark on the numbers from both the revival musicals and the new musicals in one post. Besides being more expedient (I'm feeling a little guilty for neglecting the Tonys last week), I've found that I didn't have a lot to say about many of the numbers.

The "Best Revival of a Musical" Production Numbers

How to Succeed in Business Without Really Trying

Daniel Radcliffe certainly gave it the old college try when leading the cast in a rendition of "The Brotherhood of Man." Even though I'm not a big Harry Potter fan, I was rooting for Radcliffe to do a good job, and I wasn't disappointed. Although he isn't the best singer, I thought that his performance overall was very charming. He has a nice stage presence and is a surprisingly good dancer. The overall staging of the number was good, even though I'm not the biggest fan of  Rob Ashford (seriously, sometimes less is more), and the entire ensemble had good energy. The exception to this was John Larroquette. I'm not certain if he decided to play his character as being preternaturally bored, but he really didn't seem to be enjoying himself at all. My favorite part is, in the last 30 seconds or so of the number, Larroquette is hidden in the back of the formation to disguise the fact that he isn't a dancer and that he isn't really dancing. This, obviously, does not work.

Anything Goes - The show's title song was performed by the lovely and talented Sutton Foster and ensemble. While there wasn't anything wrong with it per se, it managed to be perfectly adequate without being all that memorable or special. I wonder if my ennui with the number in general stems from its overexposure. I feel like I had seen Foster sing and perform "Anything Goes" numerous times (in rehearsal footage, on the show's site, and on various talk shows). Perhaps Foster was feeling the same, since she was missing her trademark spark.

Best Musical Production Numbers

Catch Me if You Can - After a brief appearance and intro by Aaron Tveit, Norbert Leo Butz led the ensemble in "Don't Break the Rules," which many have cited as the high point of the show. Unfortunately, this doesn't speak that well to the show's merits, since my co-bloggers and I found the number very "meh." Unlike "Anything Goes," I don't fault the performers, since Butz and company are giving it their all. Instead, I think that the song in and of itself is flawed, and no amount of showmanship could have saved it. My favorite thought regarding this number comes from The Craptacular's Twitter feed: "Don't Break the Rules" plays a lot less compelling/exciting when its not preceded by like, 40 minutes of boring sh*t."

Sister Act - I have a soft spot for Sister Act (the movie). While Petina Miller has a nice voice and a great stage presence, she and the rest of the sisters weren't enough to make me forget the excellent ensemble in the movie. That said, "Raise Your Voice" wasn't bad, but I don't know if it would convince people to buy tickets. For me, it made me want to get the movie from Netflix rather than go to New York to catch the show.

The Scottsboro Boys - This number presents a conundrum. On one hand, it was well-written, well staged, and well performed by the actors. However, I have a problem with the fact that the number really, REALLY wasn't all that representative of the show as a whole. I don't know if the producers and the director (Susan Stroman) thought that doing a representative number was less important than showcasing the talents of the cast, but it did come off as very strange. Based on the number, you would think that this would be a lighthearted musical about friendship (trust me, it is not).

The Book of Mormon

The Book of Mormon broke with the trend of the evening (and the trend of most musical numbers performed at any given Tony Awards) by not doing a big ensemble number. In fact, "I Believe" is essentially a solo performed by Elder Price, with some unwitting (and very reluctant) assistance from the Ugandans at the end of the number. While I would have liked to have seen Josh Gads be featured in some way (not only was he not in this number, the camera didn't even cut to him when they were announcing the nominees for "Best Actor in a Musical"), I appreciated the break from big production numbers. Andrew Rannells did a wonderful job being believably sincere and appropriately earnest, and he has a great voice. I also thought that, unlike the Scottsboro number, this song perfectly encapsulates The Book of Mormon. After hearing this quasi-power ballad, you would definitely know what you were getting into if you decided to see this show.

My Thoughts on the 2011 Tonys (Part I): The Host and the "Extra" Production Numbers

I've had (almost) 24 hours to ruminate on the Tonys, and while I'm not nearly as pessimistic as I was last night, I'm still somewhat disappointed. It wasn't bad at all, but it was predictable and (on occasion) mind-numbingly boring. With few exceptions, this was not from lack of effort. Neil Patrick Harris sang, danced, and hosted his little heart out, and a lot of people, from Hugh Jackman to Bono to Daniel Radcliffe, were incredibly good sports. Perhaps I was expecting too much (this is an ongoing problem with me and the Tonys); I found the entire show serviceable and competent but not terribly exciting.

The Host - As I said, Neil Patrick Harris did a nice job. While some people might disagree, I would much, much rather watch NPH host than Hugh Jackman (or, God forbid, Sean Hayes, Whoopi Goldberg, or Rosie O'Donnell). He was charming and kept the momentum of the show going for the most part. That said, I do think he was trying too hard. The effort he was putting into being his usual lovable self was almost palpable, and I wanted to give him a hug and tell him to chill for a few moments. However, when he was on (such as the opening number, the hysterical glue joke regarding the War Horse, the showdown between him and Jackman, and even the rap, which was much better than I gave it credit for last night), he was good.

The Opening Number - I liked the idea of having an original number for the opening (rather than a mash-up of all the nominated shows). Besides being somewhat coherent (at least in theory), it also incorporated a lot of the shows without trying too hard. It was cute, but the most memorable part of it was Brooke Shields's epic screw-up that seemed to go on way too long. In fact, I couldn't remember much of the opening until I saw it on YouTube. This is not a good sign. However, it does get kudos for me for having the audacity to have NPH sing about how Broadway isn't just for gays while being hoisted aloft by a bunch of sailors who are shaking their butts in time with the music. That's special (in the best way possible).



The "Extra" Numbers from Shows that Were Not Nominated this Year - Many people argue that the Tonys have become one long commercial for shows (mostly musicals), and the number of extra numbers from shows not nominated doesn't help disprove that theory. Although most of these numbers were not as awful as the extra numbers we've gotten in the past (Young Frankenstein and the intolerable Mamma Mia! numbers come to mind), that doesn't mean they were good.

• Memphis - Dammit, Tony Awards. Stop making me watch this damn number from Memphis. "Steal Your Rock 'n' Roll" was boring last year, and it was even worse this year. The inclusion of the small children dancing in the aisles only made me surlier, since it was obvious applause bait. If Memphis comes back next year, I might even start praying for the return of Jersey Boys, if only because that show has okay music.
• Spider-Man: Turn Off the Dark - The Spider-Man producers went an interesting route for the number they selected for the Tonys. Rather than focusing on the flying and acrobatics, we got a duet between a very bored-sounding Mary Jane and Peter. I can't help but wonder if they opted for this because 1) the issues with bringing the rigging to the theatre or 2) they wanted to appeal to more traditional audience tastes (See! It has a love story! Just like Oklahoma!). Either way, I'm not convinced this was the best choice. Besides downplaying the comic book aspects of the show, it also proved that hearing other people sing the songs of Bono and The Edge isn't that interesting.
• Company - I wanted to like "Side by Side by Side," and it wasn't awful, but it wasn't great either. It was mostly "meh" and didn't seem nearly as rehearsed or polished as the version taped by the New York Philharmonic. The inclusion of the three girlfriends was understandable (hey, people need to get their Christina Hendricks fix) but clumsy. That said, I'm still excited about seeing the show this week.

Live Blogging the 2011 Tony Awards

"The Book of Mormon" Original Cast Recording is On Sale at Amazon

Are you ready for the Tonys? I'm not quite there yet, but I'm getting closer thanks to Amazon, which is offering a digital download of The Book of Mormon original cast recording (please don't call it a soundtrack :) for the bargain price of $1.99. This is an excellent deal if only because you get to hear the awesome "You and Me (But Mostly Me)," a song that pays homage to (or savagely rips on) the power ballads from Wicked. Besides mocking Wicked, a show that I find too overly earnest and bombastic to fully embrace, I love that the song addresses the idea that, in spite of the many "buddy stories" in our culture, the partnership is usually very uneven.



If you want something even more irreverent (and borderline offensive) but still funny, check out "Baptize Me," a song that takes something that sounds like a conventional romantic duet and puts a distinctly unique twist on it.

Burning Questions for the 2011 Tony Awards

The Tonys are coming! The Tonys are coming! Now that the day is almost upon, I'm actually pretty psyched. Besides the fact that I get to virtually watch it (and comment on it) with my siblings, there are a number of burning questions that the awards will answer. Here are a few, in no particular order:

Will Neil Patrick Harris have more to do than he did when he hosted two years ago? My best guess is "Yes" since he and (most of) the members of the New York Philharmonic concert production of Company are doing a number on the telecast.



Just how upset are people over the aforementioned number from Company? According to the This Week on Broadway podcast for this week, there has been some grumbling about the fact that Company, a show that isn't currently on Broadway, isn't nominated for a Tony, and is being shown in movie theaters later this month, is getting some precious airtime on the awards. While I sort of get the whining, all I can ask is:
How many times has the Tony Awards telecast subjected us to the horrors of Mamma Mia! and Jersey Boys? Seriously, at least this is fairly new. Also, it's Sondheim, who is, by his very nature, awesome. Now stop complaining or I'm going to make you listen to the touring cast of Mamma Mia! belt out a substandard version of "Dancing Queen" again.

Just how badly will the straight plays be treated this year? Every year, it seems like the straight plays are pushed into the corner in favor of the flashier musicals. However, given that this was a rather dismal year in terms of musicals (both original and revival) and an EXCELLENT year for straight plays, I'm hoping that the straight plays gets some much-deserved attention. With shows like Warhorse, The Normal Heart, Born Yesterday, and Jerusalem, the competition for the play categories is fierce!

Speaking of Warhorse, will we get to see those awesome horse puppets during the show? My money is on "yes."

Will Spider-Man: Turn off the Dark make an appearance? While I could not care less about this musical, I sort of want to see it on the Tonys because odds are that it would be very snark-worthy.

Will The Book of Mormon make a clean sweep of it? The charmingly irreverent (or is it irreverently charming?) musical from the creators of South Park is nominated for 14 Tony Awards, and some critics are predicting that they will make a clean sweep of things in these categories. While the musical sounds funny and charming, and is doesn't take itself too seriously like some past shows I could mention (ahem, Spring Awakening), I find myself rooting for other nominees in some of the categories. For one, I'm hoping that The Scottsboro Boys get some well-deserved love and attention. However, since the Tony voters tend to have a block mentality when it comes to voting, as evidenced by the sweep that the entertaining if unexciting and often pedestrian musical The Producers, so who knows what will happen?

Just how charming will Daniel Radcliffe be in the How to Succeed... number? Even though I'm not a huge Harry Potter fan, Radcliffe seems adorable and very grounded, so I'm rooting for him to blow the audience away with his performance.

Interested in finding out the answers to these questions? Do you have more questions (like: Will the set hit anyone this year)? Please feel free to leave comments below, and be certain to watch the Tonys on Sunday (and join us for the live blog if you can)!

"Somewhere That's Green" (from Little Shop of Horrors)

To keep myself entertained while working, I've been listening to the Showtunes station on Pandora a lot. While some of the songs that come up are puzzling (there has been LOTS of Moulin Rouge! and Mulan, with some Taylor Swift thrown in for good measure), I've been enjoying listening to the occasional song from Little Shop of Horrors. Based on the cult film, Little Shop features music by Alan Menken and lyrics by Howard Ashman (who, in my mind, was Mr. Menken's best collaborator).

While many of the songs are amazing (my favorite is "Skid Row," which manages to be catchy and incredibly depressing at the same time), one that's been on my mind a lot (due to Pandora) is "Somewhere That's Green." Performed by Audrey, the sweet but insecure girl who works in the titular shop, the song is just one of Menken's many "I want" songs. However, it is an "I want" song with a twist.



Wait - What's an "I Want" Song? An "I want" song is a song in a musical that expresses a character's innermost desires, which will serve as the main imputes for the show's events. For examples of an "I want" song, you only need to look at any Disney musical. Prime examples of this include "Reflections" from Mulan (stupid Pandora), "Belle" from Beauty and the Beast, and "Go the Distance" from Hercules (yes, guys have "I want" songs too). These songs are also a staple of non-Disney musicals. "If I Were a Rich Man" from Fiddler on the Roof, "Wouldn't It Be Loverly" from My Fair Lady, and "I Want to Be a Producer" from The Producers all fit the bill.

What sets "Somewhere That's Green" apart from most other "I want" songs is the lyrics, which make the song simultaneously funny and heartbreaking. Unlike Belle, who longs for adventure and to get out of the little town where she lives, or Tevye, who longs for riches, Audrey's desires are much more pedestrian. Her "I want" centers around the 1950s ideal, with "a fence of real chain link/ a grill out on the patio/ disposal in the sink" featuring prominently in her dream.

The first time or two you hear the song, the mention of things like "Pine-Sol scented air" and the "big, enormous 12-inch screen" is funny, since these things are more than a little dated and are probably far from our ideal. However, upon closer inspection, this song really captures the bleakness of Audrey's life. She doesn't want adventure, she doesn't want to be rich, and she doesn't want to "go the distance." All she wants is security and a seemingly average life (I'd bet she'd be perfectly happy in Belle's provincial town). While most "I want" songs deal with wanting something much bigger, this song fits the character perfectly, because her life is so bleak that a toaster and and frozen dinners are as much as she can hope for (and are perhaps as great and as unobtainable to her as riches are to Tevye).

Upcoming Theatre Events (Tony-Related and Otherwise)

Despite my relative apathy towards the Tony nominees this year, I am jazzed about some of the upcoming theatre-related events that are happening this month. Granted, few of them are occurring anywhere near me, but if you are in New York City or in Washington, D.C., then get ready.

In New York, there's the free Tony Award Documentary Film Series, which features Finding Billy (May 9 - sorry!), Every Little Step (May 16), and Show Business: The Road to Broadway (May 23). This also includes a panel discussion with some excellent speakers. While I haven't seen Finding Billy, I have seen the other two films and can safely say that both are very good. If you're in New York, this is definitely work checking out.

Washington, D.C.'s Kennedy Center is currently showing Stephen Sondheim's Follies, starring Bernadette Peters and Elaine Paige. It is running through June 19.

If you, like me, are not able to jaunt to NYC or D.C., you might be able to console yourself by seeing the New York Philharmonic's version of Company, which was filmed during its incredibly limited run and is being shown in movie theaters across the country.

"Unpretty/I Feel Pretty" from Glee

With a few exceptions, I've been underwhelmed by Glee this season. Maybe it's the sophomore slump or perhaps it's because the show has been uneven (even by Glee standards), but I haven't had much to say about the show. However, last night's episode was better than most, and might even be up there with the first half of the first season.

The best number of the night (and one of the best, if not best, of the season), was Rachel and Quinn's rendition of "Unpretty/I Feel Pretty." Although the two actresses' voices don't seem like they would mesh together well, they were able to make the most of Quinn's voice, which is pretty but not particularly strong, while toning down Rachel's powerhouse voice. In addition to the beautifully balanced vocals, the direction and editing was excellent and added to the song's poignancy. Even though I had no love for "Unpretty" or "I Feel Pretty" as separate songs, I've listened to this song on repeat for the past hour.

I particularly appreciate that the understated arrangement really highlights the lyrics of the songs. Back when I worked in speech and drama at the high school level, I remember someone telling me that a student used "Unpretty" as part of her poetry piece. While I was skeptical back then, I totally see how the lyrics can stand on their own without the music.

In Honor of the Bard's Birthday: "Romeo and Juliet" from "Reefer Madness"

Today is the day that Shakespeare's birthday is traditionally celebrated (they weren't too big on paperwork back in his day, so the actual date is unknown). In celebration, here is an awesomely chipper and inane song performed by two characters who have obviously not read the entire play:



To give you some context, this song appears in the musical Reefer Madness, which satirizes the over-the-top film of the same name from the 1930s. In this clip, Jimmy Harper (Christian Campbell) and Mary Lane (Kristen Bell) are preparing to read Romeo and Juliet while falling in love. Unfortunately, the play foreshadows the outcome of their relationship, which is tragic yet utterly hysterical (just watch the movie).

Book Review: "Finishing the Hat: Collected Lyrics (1954-1981) with Attendant Comments, Principles, Heresies, Grudges, Whines and Anecdotes" by Stephen Sondheim

I have long had a love affair with musical theatre. When I was younger, this love affair was all-consuming; anything and everything Broadway-related, from Andrew Lloyd Webber to (shudder) Frank Wildhorn, was fair game, and I admit that I had at least two versions of the Jekyll and Hyde soundtrack in my CD collection. However, with age and experience comes discernment. While I still have a fondness for some ALW, my interest in Wildhorn's pedestrian work died before I entered college and any lingering attachment perished when David Hasselhoff played the title role(s) in a televised version of Jekyll and Hyde.

Luckily, college introduced me to the works of Stephen Sondheim, and ever since, I have become a bit of a Sondheim snob. Consequently, when I heard that he was writing a book that included the lyrics for his shows, as well as essays and reflections on the songs, I was psyched (sadly enough, I probably used this exact phrase when telling my students about it. Unsurprisingly, they were not nearly as excited as I was).

Finishing the Hat includes the lyrics for Sondheim's shows from Saturday Night (conceived of before West Side Story, but unperformed until 1997) to the wonderful (if poorly received) Merrily We Roll Along. Interspersed among all of the lyrics are overviews of the shows as well as short essays and notes about the songs (hence the Comments, Principles, Heresies, Grudges, Whines, and Anecdotes from the book's subtitle). The book also contains Sondheim's original notes and reflections on other lyric writers (all deceased), such as Oscar Hammerstein II (Sondheim's mentor), Irving Berlin, and Cole Porter. In short, this book is a musical lover's dream come true.

While the lyrics are the real star of the book (and, as Sondheim noted in his interview with Terry Gross for NPR's Fresh Air, they read very well on the page), I found myself really enjoying his thoughts upon revisiting the lyrics. For instance, his explanation for changing "Rich and Happy" to "That Frank" not only helps us understand his rationale for the change but also gives us a deeper appreciation for the thought that he puts into his music and lyrics. I also enjoyed Sondheim's forthrightness and candor, which rarely devolve into malicious gossip (the closest he gets is in his recollections of The Frogs). He is quick to praise the lyricists who came before him and influenced his work (as his pastiche work in Follies shows), but he also does not hold back when it comes to critiquing their more questionable lyrics. Even as I felt myself getting defensive on behalf of lyricists like Gershwin (whose work Sondheim refers to as "Rhyming poison"), Sondheim uses specific examples to prove his points, and even when I admire the lyricist in question, I often found myself understanding and agreeing with Sondheim's anlysis.

One of the roads I didn't take was taking a course (or set of courses) dedicated to musical theatre. However, Sondheim's Finishing the Hat provides a veritable master class on musical theatre and the thought and care that go into creating a musical. Read it while listening to Sondheim's songs, and you will get the full appreciation of a master at work.

Dissecting Glee: "Grilled Cheesus"

It has been a crazy month, but I really wanted to write a post about the latest episode of Glee. Up until yesterday, Glee had been a huge disappointment since it returned for its second season. I found "Audition" annoying and the Britney Spears episode tedious and inane (similar to Britney herself). When I found out that Ryan Murphy and company were going to do a serious episode about faith and religion, I braced myself and mentally prepared to break up with Glee forever. Since Glee doesn't do subtle particularly well, I expected "Grilled Chesus" to be ridiculously anvilicious at best, insulting at worst. However, I was pleasantly surprised by the episode, and I thought that it was the best episode of the season so far.

First off, let me just say that "Grilled Cheesus" is probably one of the most divisive episode of Glee, and a quick peek at the Glee forums at Television without Pity indicates that most reactions will fall into one of three camps. The first camp was horribly offended by the portrayal of religion (and, in some cases, atheism) in this episode, the second camp thought that it was too maudlin and over-the-top, and the third camp found the episode's treatment of religion thoughtful (even if the episode itself was a little too heavy handed). I happen to fall in the third category, but I can definitely see how some people's mileage may vary.

The Plot: As I mentioned, tackling religion on a show that is equal parts camp, soap opera, and American Idol is a risky venture. It really surprised me how angry some people were on the TWOP forums about the portrayal of religion and atheism. I thought that the show did a good job looking at all of the different aspects of religion and how people view religion. Even as it questioned the view of God as a combination of a genie and a concierge (see Finn's absurd and selfish wishes when he prays to the apparition of Jesus on the grilled cheese sandwich), it also acknowledged that spirituality can mean different things to different people. Finally, and most tellingly, it presented the atheist perspective without forcing Kurt and Sue to renounce their atheism or finding a neat and tidy resolution to the characters' doubts about God.

The Music: There was a lot of music in this episode, and I must admit that I didn't pay much attention to some of the songs. One of my nitpicks is that, with the overabundance of music featured in "Grilled Chesus," some of the songs that deserved more airtime were cut. In all honesty, I really could have done without "I Look to You" and "Papa, Can You Hear Me?", which took me out of the moment because, rather than thinking about Yentl and Streisand, all I could think about was Nelson Muntz singing it on The Simpsons. That said, I found myself really loving several of the numbers.

"Only the Good Die Young" - I love how Puck tried using this song to substantiate his claim that religion and spirituality is about making the most of the time you have. As a former Catholic school girl, I couldn't help but laugh at Puck's reasoning. However, I appreciated the lightness of the number and how much fun the characters seemed to be having during the song.

"I Want to Hold Your Hand" - This was a devastating sequence and arrangement. Also, the actor they got to play young Kurt looked uncannily like Chris Colfer. That is all I have to say - I have something in my eye...

"One of Us" - This is the song that should have been longer, and not just because the cast looked amazing in their white and black ensembles. It seemed like the perfect ending to the episode, and the minimal staging highlighted the music. My only issue (besides the truncated length of the song) was the final cut to Finn's empty plate. It just felt a little strange, even though the director probably wanted to leave the audience with a fairly open-ended ending image. Rather than having a shot of the cast (bathed in the ethereally white light of the stage) or of a recovering Mr. Hummel (both of which could be construed as religion saving the day), showing the empty plate and crumpled plastic wrap certainly made the ending ambiguous.

Other Observations:

• Even though subtlety is far from this show's strong point, there were quite a few tiny moments that were well done. For instance, the scene where Kurt, Emma, and Will are in the waiting room at the hospital, and Emma slips her hand into Will's was a wonderfully understated touch.
• I love that crazy, evil Sue is juxtaposed with her softer side. Her relationship with her sister is lovely.
• This episode also showed us the nicer side of Santana, Puck, and Brittany. They all seemed very genuine when they were talking to Kurt.
• For all of her quirks, Emma actually gives pretty good advice.

In Honor of Independence Day: More 1776

I know that I blogged about 1776 two years ago, it is definitely a musical worth revisiting. While it isn't perfect, there is something very moving about it. Here are two of my favorite moments from the movie adaptation.

In the first scene, Franklin, Adams, and Jefferson fret while the Continental Congress read Jefferson's Declaration of Independence. However, despite (or perhaps in response to) the stress of waiting, the three men find time to bicker over what the national bird should be:




The second scene is considerably meatier and more dramatic. This scene follows the harrowing "Molasses to Rum" number, which one of the delegates from the southern states performs in response to the demands that slavery end. Adams, alone and shattered, tries to rally himself after the delegates leave the hall:



For more information on 1776, visit the musical's official web site.

Happy Independence Day!

Dissecting Glee: "Journey to Regionals"

One of my secret ambitions is to be a theatre critic (I came really close once, but the gig didn't work out). While I probably need to be made of sterner stuff to be a critic, I still get a kick out of reviewing musical numbers. Therefore, I'm dissecting parts of the season finale of Glee. Just to clarify, this isn't a recap (I seriously considered calling it a Gleecap, but that was just too annoying) as much as it is a review of the sections that I found noteworthy. Let's get started with the songs...

"Faithfully/Touchin', Lovin', Squeezing/Anyway You Want It/Don't Stop Believin'":
I love a good '80s power ballad, and this mash-up/medley fit the bill nicely. Besides tying in very nicely to the pilot, the songs really fit the performers' voices. While Cory Monteith (Finn) sometimes gets flack on the TWOP forums for not having the greatest voice (and for the producers' prodigious use of Auto-Tune to correct it), I thought that "Faithfully" (as well as "Jesse's Girl" earlier this season) was perfect for him. Also, considering that the group is mix of people with different dancing abilities, the number's staging made sense. No, it wasn't nearly as ambitious (or insane) as Vocal Adrenaline's "Bohemian Rhapsody" choreography, but New Directions' staging looked like something that would be feasible for an actual high school show choir.

On a more shallow note, I should be making fun of the girls' use of Bumpits, but given that the entire look had a 1960s vibe (which is a little strange, since the music was solidly planted in the 1980s), the look worked. I also am digging the boys' black outfits with gold ties and the girls' gold dresses. The costumer for this show deserves serious props for finding a single dress that looks good on a bunch of different body types.

Questions, Observations, and Minor Nitpicks:

• Did anyone else think that Rachel was channeling Celine Dion during the beginning of "Faithfully"?
  
• I love Brad (the piano player for New Directions); he always looks so happy and into it when the kids are singing, regardless of who is singing and what the song is. His face during the middle part of the medley was priceless.
  
• During a reaction shot of the judges during the number, I could see Quinn's mom sitting behind them, even though she didn't come in until later in the number. However, consistency/logic has never been Glee's strong suit.
  
• Did we really need a key change in "Don't Stop Believin'"?
  

"Bohemian Rhapsody" and The Birth of Beth/Drizzle
While I can accept that New Directions lost to VA (I didn't think that ND would win going into Regionals), I refuse to accept that "Bohemian Rhapsody" would win over the Journey medley. VA has done some impressive numbers, including the incredible version of "Rehab" from one of the first episodes of the season. However, "Bohemian Rhapsody" left me cold for a number of reasons. Besides the fact that it was pretty much a showcase for Jonathan Groff, who did most of the heavy lifting in terms of the vocals, the choreography was just too over the top for me. I could accept the polish of "Rehab," but "BH" was just too much. Also, I am still PISSED at Jesse and VA for egging Rachel, so there was no way I was going to be able to enjoy "BH" without some sort of serious comeuppance. Seriously, VA needs to cure cancer or something before I can appreciate a number the group does on its own terms.

On the other hand, "Bohemian Rhapsody" worked well as a parallel for the birth of Beth/Drizzle. The cuts were sharp and well-chosen, so hat's off to the choreographer, director, and editor. I am still highly amused by the juxtaposition of Quinn's screams with the song and with the doctor saying "The baby's crowning" with VA surrounding Jesse and him popping out of the center of the crowd. In fact, the editing/birth of the baby was the one thing that kept me from flipping channels during "BH."

"To Sir, with Love":
I don't like the song "To Sir, with Love," and I didn't really expect to like this number because of the maudlin nature of the song (I always think of this scene from Boy Meets World when I think of the song). That said, this number was surprisingly moving. The lead-up to the song, with each of the club members telling Will how they have changed over the course of the year, was genuinely sad (even though Mercedes's line "Glee club will never end, Mr. Schue, 'cause you are glee club. You're in all of us now" did make me roll my eyes).

The arrangement worked well and parts of it had a definite 1960s, girl-group flavor. Also, the very minimal staging really made the viewer focus on the song, the kids, and Will, who was appropriately choked up during the proceedings. The fact that the kids also looked completely stricken during the song made me forget about my cynicism about the song and get lost in the moment.

While it might seem out of character for some of the characters, such as Santana, to get so emotional about the thought of the end of glee club (it is very likely that the cast was so emotional about it being the end of the season), I thought that, given the capricious and emotional nature of teenagers, it worked. I also liked the shot of Sue watching from the back of the auditorium. Again, her softening up might seem OOC, but she was definitely in a more vulnerable place after that crazy confrontation in the judges' room.

"Over the Rainbow":
I have surprisingly little to say about this song. Matthew Morrison and Mark Salling did a beautiful job harmonizing, and the kids' reactions were very sweet. However, while it is nice to know that New Directions would live to see another day (not that there was much doubt for the audience - the show's been picked up for a second and third season), I can't help but think that "To Sir, with Love" would have made a more powerful ending to the season. However, since I like resolution, I'd probably be bitching if things were left up in the air.

Overall, "Journey to Regionals" reminded me of what I loved about the show. Despite the breakneck pace of the first season and the multitude of unresolved plotlines (Jesse, what the hell happened?), I plan on tuning in for the show's second season.

Please feel free to weigh in with your thoughts in the comments section. Also, I'm toying with the idea of making this Glee dissection a semi-regular part of the blog. Any takers?