OPENING NIGHT: LA CAGE AUX FOLLES on Broadway

LA CAGE AUX FOLLES

To purchase the 2010 Broadway Revival Cast Recording of LA CAGE AUX FOLLES, click on the image above.

The new Broadway revival of La Cage aux Folles, the second we’ve seen in the past decade, officially opens tonight on Broadway at the Longacre Theatre.

With a book by Harvey Fierstein and music by Jerry Herman, the show tells the tale of romantically partnered Georges and Albin, the suave owner of a glitzy drag club on the French Riviera and its high-strung star performer, whose lives are disrupted when Georges’ son announces his engagement to the daughter of a conservative right-wing politician who’s coming to dinner.

Kelsey Grammer and Douglas Hodge lead the cast of this revival as as Georges and Albin respectively, with Fred Applegate as Edouard Dindon/M. Renaud, Veanne Cox as Mme. Dindon/Mme. Renaud, Chris Hoch as Francis, Elena Shaddow as Anne, A.J. Shively as Jean-Michel, Christine Andreas as Jacqueline, Robin de Jesús as Jacob, Heather Lindell as Colette, Cheryl Stern as Babette, Bill Nolte as Tabarro and David Nathan Perlow as Etienne. The Cagelles include Nick Adams as Angelique, Sean A. Carmon as Phaedra, Nicholas Cunningham as Hanna, Sean Patrick Doyle as Chantal, Logan Keslar as Bitelle and Terry Lavell as Mercedes. Also in the cast is Dale Hensley as a waiter, while Christophe Caballero, Todd Lattimore and Caitlin Mundth are the swings.

Direction for the show is by Terry Johnson with choreography by Lynne Page. This particular production was seen in the London last year to great acclaim. The official website for the show is available here.

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SONDHEIM ON SONDHEIM Photographs

Sondheim on Sondheim is the Roundabout Theatre’s new musical revue that aims to give the audience “an intimate portrait of the famed composer in his own words… and music”, using exclusive interview footage to gain an inside look at Sondheim’s personal life and artistic process. Here are the first official production photographs, taken by Richard Termine.

SONDHEIM ON SONDHEIM SONDHEIM ON SONDHEIM SONDHEIM ON SONDHEIM

SONDHEIM ON SONDHEIM SONDHEIM ON SONDHEIM SONDHEIM ON SONDHEIM

Conceived and directed by James Lapine, the production features Barbara Cook, Vanessa Williams, Tom Wopat, Leslie Kritzer, Norm Lewis, Euan Morton, Erin Mackey and Matthew Scott.

As followers of this blog might know, I haven’t been a punter of this show, despite being a fan of Sondheim’s work. I’m still not enamored by the idea of it all. Roundabout’s marketing of the show, first as an original musical – it’s not, it’s a revue and as such doesn’t deserve a nod in the “Best Musical” category or in any of the acting categories, for that matter – and now as an evening that is unique in its intent when it’s basically an updated Side by Side by Sondheim from a slightly different perspective with a bigger technical budget, hasn’t help to win me over either. The most intriguing part of the whole thing is the video material featuring the Sondheim interviews. I wouldn’t mind seeing those interviews ported onto DVD, but let’s lose the revue performances and replace them with archival performances from the actual shows or, when that kind of material isn’t available, with filmed reproductions of the songs as they were originally seen in their original productions. As they were meant to be seen.

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(Re)considering Musical Theatre Practice: Part 1

Six years ago I delivered a seminar at the University of Cape Town entitled “Musical Theatre Practice: a consideration of genre, form and the festival of renewal”. In that seminar, I set out to explore the major forms of musical theatre, how the genre functions as a displaced festival of renewal and what these frameworks offered to both theatre-makers and viewers of musical theatre. I feel that it’s time to revisit the topic now, because I’d like to expand the field of my exploration, particularly that around the idea of genre and musical theatre forms. This post is the departure point for that journey and I hope that, in some ways, it becomes a dialogue between readers of this blog and myself in our appreciation of this wonderfully eclectic, multi-modal theatrical form.

I think a good place to start might be in an exploration of the word “genre”, which seems to have a variety of meanings. The first place I I looked for a definition was in A Glossary of Literary Terms. What resonated most for me in the entry on “genre”, was an idea that has endured since the days of Plato and Aristotle:

There has been an enduring division of the overall literary domain into three large generic classes, in terms of who speaks in the work: lyric (uttered throughout in the first person), epic or narrative (in which the narrator speaks in the first person, then lets his characters speak for themselves); and drama (in which the characters do all the talking).

Do we have a tripartite division in musical theatre that aligns with that broadest of definitions of genre? Let’s start by having a look at the first of these three genres for now.

Inner VoicesOne-person musicals are a rare thing, so do we have a case for “lyric” musical theatre? I think we do, but perhaps these musicals represent the minority of musical theatre and perhaps theatre-makers have yet to make the most of what a “lyric” musical theatre can offer. Look, for example, at the kinds of musicals being created as a part of the Inner Voices: Solo Musicals presentation. Certainly, cabaret-style presentations like Bea Arthur’s Just Between Friends or Elaine Stritch at Liberty fall into this category, but shows like Mosaic and Whida Peru: Resurrection Tangle (which will be performed by Heidi Blickenstaff and Judith Blazer, pictured right) take us into the realm of original narrative musical theatre, which is my particular realm of interest.

Any other suggestions of musicals that might be categorised as “lyric”? Head over to the comments box.

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DANCES WITH WOLVES – the Musical?

A tiny blurb appeared on the Matt Murphy Productions website, announcing that the production company (which is also responsible for bringing this seasons Memphis to the Broadway stage) has acquired the stage rights the best-selling 1986 novel Dances with Wolves by Michael Blake – and that it’s heading for Broadway. Winning seven Oscars – including Best Picture and Best Adapted Screenplay for Blake, who is not expected to adapt his novel for this project – the film version of Dances with Wolves was directed by Kevin Costner, who also starred alongside Mary McDonnell, Graham Greene and Rodney A. Grant.

No other details have been officially released, but glean what you can from the following snippets that have appeared in various interviews with Matt Murphy:

From BroadwayWorld:

Dances with Wolves will be a uniquely spectacular and dramatic new musical. I envision a score that is inspired by Appalachian, folk, Civil War era, and Native American music, coupled with a production design that celebrates the spirit and ceremony of Native American culture amidst the awe-inspiring landscape of the American frontier. I am seeking a creative team who can make the epic story of Dances with Wolves sing for a new medium and a new generation of audiences.

From Playbill:

It’s a beautiful story set within a spectacular setting so that you get lush visuals along with a gorgeous romance along with something of cultural significance. I have never seen Native Americans on stage, I’ve never seen this story on stage…. There is no way to do Dances With Wolves, which is essentially a Western on stage, without it being spectacular and epic in scope…. Our goal is to honor the legacy of Native American culture.

Some further details are also reported in the article on Playbill: the composer with work in collaboration with a Native American musical expert, in the way that Lebo M worked with Elton John and Hans Zimmer on The Lion King to create a sense of musical authenticity in the show, while the animals, which are integral to the narrative, will given to the design team to handle ‘in a creative way’.

So… who wants to speculate on possible composers and lyricists for this production? Adam Guettel? Michael John LaChiusa? Stephen Flaherty and Lynn Ahrens? Who do you think might be most suitable?

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NEWSFLASH: Radcliffe to Help BUSINESS Succeed on Broadway

Daniel Radcliffe

Above: Daniel Radcliffe

Confirming the rumours that went along with the reading of How to Succeed in Business Without Really Trying at the end of 2009, it has been confirmed in the New York Times that Daniel Radcliffe will star in a revival of the 1961 musical with the Frank Loesser score and the Abe Burrows-Jack Weinstock-Willie Gilbert book next year. The show, which won the Pulitzer Prize when it premiered, deals with the trials and tribulations of a young window washer who uses a book from which the title of the show gains its name to rise to the top of the World Wide Wickets Company in New York City.

Rob Ashford, who is responsible for the direction and choreography of the current Broadway revival of Promises, Promises will perform the same duties for “H2$”, which was last revived on the Great White Way in 1995, which starred Matthew Broderick in a Tony Award-winning turn in the central role. The role also won a Tony for Robert Morse. Could it be that the same fate awaits Radcliffe as he takes on this role? Only time will tell…

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THE BOYS IN THE PHOTOGRAPH: Video Promos

Here’s a series of promotional videos for the upcoming production of The Boys in the Photograph – the revised version of Ben Elton and Andrew Lloyd Webber’s The Beautiful Game – starting 18th May 2010 in Johannesburg, South Africa. The clips feature cast members David Chevers (John Kelly), Carly Graeme (Mary Mcguire), Sibu Radebe (Daniel Gillen), Gemma Donnelly (Christine Warner) and Neville Thomas (Father O’Donnell).

The principle cast also includes Adam du Plessis (Thomas Malloy), Grant Almirall (Del Copeland), Gareth Worth (Gregory “Ginger” O’Shaughnessy) and Tammi Meyer (Bernadette), with an ensemble featuring Norman Anstey, Judy Ditchfield, Christopher Jaftha, Clive Gilson, Byron Lee Olivato, Stephen Jubber, Lebo Toko, Kenneth Meyer, Daniel Buys, Aidan Lithgow, Shaun Brian Murphy, Shaun V, Darryl Evans, Christel Mutombo, Sarah Richard, Dolly Louw, Eloise Horjus, Dominique Paccaut, Revano Michael, Shelley Adriaanzen, Motlatji Ditodi and Nicol Sheraton. The show will also feature a children’s company, including Kelly Rose, Tiaan Nortje, Kyle Smith, Thulasizwe Cruickshank, Amanda Dlamini, Brenton Budler, Estiaan Conradie and Vashiv Naiker. Direction is by Janice Honeyman, with choreography by Celeste Botha.

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AMERICAN IDIOT Production Photos

American Idiot, the new rock musical based on the concept album of the same name by Green Day – with a few songs from their more recent release 21st Century Breakdown thrown in for fun, opens next week. Here’s a look at the show through the lens of Paul Kolnik.

AMERICAN IDIOT AMERICAN IDIOT AMERICAN IDIOT AMERICAN IDIOT

AMERICAN IDIOT AMERICAN IDIOT AMERICAN IDIOT

John Gallagher Jr, Stark Sands, Michael Esper, Rebecca Naomi Jones, Christina Sajous, Mary Faber and Tony Vincent head up the cast, which also includes Declan Bennett, Andrew Call, Gerard Canonico, Miguel Cervantes, Joshua Henry, Van Hughes, Brian CharLes Johnson , Joshua Kobak, Lorin Latarro, Omar Lopez-Cepero, Leslie McDonel, Chase Peacock, Theo Stockman, Ben Thompson, Alysha Umphress, Aspen Vincent and Libby Winters. American Idiot is directed by Michael Mayer with choreography by Steven Hoggett.

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NEXT TO NORMAL Wins the Pulitzer Prize for Drama

Next to Normal, the rock musical by Tom Kitt and Brian Yorkey, has beaten out all the expected winners for the 2010 Pulitzer Prize for Drama and been named the winner of that award. The musical tells the story of a mother who struggles with bipolar disorder and the effect that her illness has on her family.

Next to Normal

The award is given each year to a distinguished play by an American author, preferably original in its source and dealing with American life to new plays that opened during the preceding year and includes a $10,000 prize. Next to Normal joins a select few other musicals who have won the Pulitzer Prize for Drama: these are RENT, Sunday in the Park With George, A Chorus Line, How to Succeed in Business Without Really Trying, Fiorello!, South Pacific and Of Thee I Sing.

Plays that led the race for the Pulitzer this year included: The Elaborate Entrance of Chad Deity by Kristoffer Diaz, Bengal Tiger at the Baghdad Zoo by Rajiv Joseph, and In the Next Room or the vibrator play by Sarah Ruhl. This years assessment panel consisted of Charles McNulty, John M. Clum, Nilo Cruz, David Rooney and Hedy Weiss.

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PHOTOS: LA CAGE AUX FOLLES on Broadway

Have a look at the the current Broadway revival of La Cage aux Folles, captured here in a series of photographs by Joan Marcus.

LA CAGE AUX FOLLES LA CAGE AUX FOLLES LA CAGE AUX FOLLES LA CAGE AUX FOLLES

LA CAGE AUX FOLLES LA CAGE AUX FOLLES LA CAGE AUX FOLLES

Kelsey Grammer and Douglas Hodge lead the cast of this revival as as Georges and Albin respectively, with Fred Applegate as Edouard Dindon/M. Renaud, Veanne Cox as Mme. Dindon/Mme. Renaud, Chris Hoch as Francis, Elena Shaddow as Anne, A.J. Shively as Jean-Michel, Christine Andreas as Jacqueline, Robin de Jesús as Jacob, Heather Lindell as Colette, Cheryl Stern as Babette, Bill Nolte as Tabarro and David Nathan Perlow as Etienne. The Cagelles include Nick Adams as Angelique, Sean A. Carmon as Phaedra, Nicholas Cunningham as Hanna, Sean Patrick Doyle as Chantal, Logan Keslar as Bitelle and Terry Lavell as Mercedes. Also in the cast is Dale Hensley as a waiter, while Christophe Caballero, Todd Lattimore and Caitlin Mundth are the swings.

La Cage aux Folles, which features a book by Harvey Fierstein – based on the play by Jean Poiret – and a score by Jerry Herman, is directed by Terry Johnson with choreography by Lynne Page. The second revival of the show in the past decade, the previous incarnation having won the 2005 Tony award for Best Revival of a Musical despite a decidedly mixed reception, this production looks like a hot contender for that same award in 2010.

While the 2004-2005 season was a poor one for revivals, this past season has offered some strong competition, but this reconceptualization of the material in this case seems to be the factor that might sway the voters’ hands. This was certainly what propelled the production to Olivier Award-winning status, despite the reservations of Arthur Laurents, who said in a recent interview with OUT magazine that this production was cheap and homophobic in comparison with his Tony-award winning direction of the original production, which infamously beat out the far superior Sunday in the Park with George for the Best Musical prize of the 1983/1984 season. Laurents, of course, knows how homophobia materializes in the arts: one only needs to look to his screenplay for The Turning Point to see that. But I digress. We’ll have to wait for the Tony Awards later this year to see what happens there.

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NEWSFLASH: BILLY ELLIOT Opens in Chicago

BILLY ELLIOT

To purchase the Original London Cast Recording of BILLY ELLIOT, click on the image above.

Billy Elliot, the musical that TIME magazine named the best of the decade, officially opens tonight in Chicago at the Ford Center’s Oriental Theatre.

Based on the popular film, the musical has a book and lyrics penned by Lee Hall and music by Elton John and tells – according to the show’s publicity materials – ‘the funny and heartwarming story of a young boy with a dream, and a celebration of his triumph against the odds. Set against the historic British miners’ strike of the 1980s, the story follows Billy’s journey as a boy in a small mining town who, after stumbling across a ballet class while on his way to a boxing lesson, realizes that his future lay not in the boxing ring but on stage as a dancer.’

Leading the cast in the titlar role are Tommy Batchelor, Giuseppe Bausilio, Cesar Corrales and John Peter Viernes, with Emily Skinner as Mrs Wilkinson, Armand Schultz as his father, Cynthia Darlow as Grandma), Patrick Mulvey as Tony, Keean Johnson and Gabriel Rush alternating as Michael, Samuel Pergande as Billy’s older self, Jim Ortlieb as George, Susie McMonagle as Billy’s mother, Blake Hammond as Mr. Braithwaite and Maria Connelly as Debbie.

The ensemble features Matt Allen, Jason Babinsky, Elijah Barker, Madison Barnes, Cindy Benson, Sara Brians, Tony Clarno, Abby Church, Christine DeFillipo, Alexandra Dell’Edera, Faith Fetscher, Susan Haefner, Ryan Kasprzak, Kayla King, Kent Lewis, Will Mann, Kate Marilley, Spencer Milford, Brittany Nicholas, Mark Page, Mitch Poulos, Emily Richardson, Annelise Ritacca, Mason Roberts, Michaeljon Slinger, Jaclyn Taylor Ruggiero, Jamie Torcellini, Nicholas Torres, Brionna Trilling, Kayla Vanderbilt and Ryan Bauer-Walsh.

Stephen Daldry has directed the show, with choreography Peter Darling. The Broadway production, which is still running, won the Tony Awards for Best Musical in 2009. The official website for the show is available here.

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