Everything I Know I Learned from Musicals

Cast and Logo Changes for Shrek Musical

According to the New York Times, the new Broadway-bound musical Shrek has undergone some casting changes. Chester Gregory (Cry-Baby) played the part of Donkey during the show's Seattle tryout, but Daniel Breaker (Passing Strange) will replace him when the show comes to New York.

The producers haven't said anything as to why they're making the change, but such silence usually speaks volumes. It's likely that they simply weren't happy with Gregory's performance, and they're not going to take any chances with such a high-profile production. Breaker is a very dynamic performer, so he should be able to fill Donkey's hooves very nicely.

Kecia Lewis-Evans (The Drowsy Chaperone), who played the Dragon in Seattle, has also left the show, owing to a "redefinition" of the Dragon character. Lewis-Evans had been providing the character's voice while a number of chorus members articulated the large Dragon costume. The creators have decided to spread the character's vocal work among the chorus members, obviating Lewis-Evans' services. Actress and show have parted by "mutual consent."

I've been hearing decent things about the show from folks who've seen the Seattle tryout. Apparently, whereas the original "Shrek" movie poked fun at fairy tales, and Disney in particular, the stage show sends up other Broadway shows, which presumably includes Disney productions. The show is running at about 3 hours, so it definitely needs some pruning, but apparently it's lively, fun, and tuneful.

Among other changes the Shrek staff have made, there's the show's new logo (see above). Perhaps the Shrek folk thought the original logo (see left) was a bit too close to the visual identity of the "Shrek" movies. I'm not entirely sure that I like the new version, but it's definitely bolder, and will be more likely to stand out amid the marketing noise of Times Square. I've already begun to notice it cropping up during my recent trips to NYC.

Xanadu: Third Time's the Charm

You know it's been a bad theater weekend when the best show you saw is one that you've already seen. Twice. I started my recent NYC jaunt with the new Off Broadway musical Fela, and was not impressed. (See my review below.) Next I took in the new Broadway tuner A Tale of Two Cities and was pert near horrified. (Look for my review later in the week.)

Fortunately, as a palate cleanser, I had secured a ticket to the sold-out Saturday night performance of Xanadu, a show of which I continue to be an ardent fan, mostly for Douglas Carter Beane's riotous book and for the show's incandescent cast of Broadway's best. In fact, Xanadu is the first Broadway production I've ever seen three times. 

As much as I love the show, I was concerned when Whoopi Goldberg joined the cast. I'm all for stunt casting, if it keeps a good show running, and if it works within the context of the show. But I was worried that Whoopi would upstage or detract from the rest of the cast. Plus I wasn't sure that the people who came just to see Whoopi would be satisfied: Calliope is only a supporting role.

Well, I'm happy to report that Whoopi's stint appears to have been, at the very least, a financial success for Xanadu. Since the Tony Awards in June, the show's grosses had been rising steadily, but they topped the $300,000 mark for the first time after Whoopi joined the cast in July. It's not clear whether that momentum will continue when she leaves on September 7th, or whether things will settle back to their pre-Tony levels. Perhaps the folks who came to see Whoopi but were impressed by the show itself will generate positive word of mouth. We'll see.

As for Whoopi's performance, well, it could have been a lot worse. (Brought to you by the Department of Damning With Faint Praise.) She's actually a strong, if unrefined, singer, but she didn't quite fit in with the arch style of he rest of the cast. She did bring a certain undeniable Whoopi-ness to her line readings: Beane even changed a few of Calliope's lines to accommodate her presence, and most of them were quite funny. Although Whoopi clearly knew all the choreography, she executed it with a definite sense of marking, as if to say "You don't really expect me to dance like the rest of these people, do you?" 

On a side note, Beane has also changed one of the lines in the show that made reference to Les Misérables, which was playing at the Broadhurst across the street last year when Xanadu opened. Now it's a joke about Gypsy. The Melpomene character makes reference to the fact that, at this point in the show, Patti LuPone hasn't even alienated her first daughter. I wonder if, when Equus opens at the Broadhurst, whether Beane will change the line to something like "Harry Potter hasn't even taken his clothes off yet..."

Hair Extension and Afterlife?

Although the Public Theater production of Hair at the Delacorte Theater doesn't open until tomorrow, the producers have already long since announced an extension. The show, which started previews on July 22nd, was originally supposed to have run until August 17th, but will now play until August 31st.

Unfortunately, Jonathan Groff, Tony nominee for Spring Awakening, won't be able to play the extension, owing to a previous commitment. Enter Christopher Hanke, late of Cry-Baby, who will step into the role of Claude Hooper Bukowski for the rest of the run. Interestingly enough, Groff made his Broadway debut understudying for Hanke during the abbreviated run of the musical In My Life. (Some would call that ironic. They'd be wrong.)

According to Playbill.com, there have also been rumblings about a commercial transfer, whether via national tour or subsequent production in New York. Given the logjam of shows circling Broadway right now, it will be interesting to see if the Public tries to bring the show to the Rialto this season, or opts for an Off-Broadway venue. Perhaps the show might slip into the Circle in the Square, now that the revival of for colored girls who have considered suicide when the rainbow is enuf appears to be stalled.

I'm a huge fan of the score to Hair, but I've never actually seen the show on stage. I've read the script, which is sketchy and episodic at best, and the 1979 Milos Forman film version seems a major improvement, at least in terms of a cohesive plot. I'll be seeing the show this Saturday with fellow blogger SarahB. (Holla, girl!) Look for my review sometime next week.

[UPDATE: The "previous commitment" preventing Jonathan Groff from finishing out the run of Hair is apparently a starring role in the new Ang Lee movie "Taking Woodstock." Well, wouldn't you?]

Whoopi Goldberg? In Xanadu?

It just goes to show you, even the best shows can fall victim to the curse that is stunt casting. According to Playbill.com, Whoopi Goldberg will soon be joining the Broadway cast of Xanadu, filling in for a vacationing Jackie Hoffman as Hoffman heads off to promote her new CD.

Goldberg is certainly no stranger to stunt casting, having previously taken Nathan Lane's place as Pseudolous in the recent Broadway revival of A Funny Thing Happened on the Way to the Forum. As I've said before, I'm all for stunt casting if it keeps an otherwise worthy show running, but I can't help thinking that Whoopi will be more of a distraction than an enhancement to my beloved Xanadu.

Goldberg joins the Xanadu cast on July 29th, and will play the role of Calliope for six weeks thereafter. I've already seen the show twice, and happily so, but I can't really see myself taking the show in again just to see Whoopi. Then again, I'll be down in the city once a month until the end of the year, so it will depend on what else there is to see during my upcoming visits. 

Will Kelli O'Hara Reprise Eliza?

Despite my best efforts to appear subversive and shifty, I was in fact impaneled on a jury today. I can't talk about the case. (And don't particularly care to: Yawn City.)

But I had to pass on some inchoate yet intriguing news about the delightful Kelli O'Hara. She recently told Parade magazine (so it MUST be true), that she'd love to play Eliza Doolittle in a Broadway revival of My Fair Lady. In fact she even said that she'd gladly postpone having a family for the possibility.

O'Hara played the role last year with the New York Philharmonic, opposite Kelsey Grammer as Henry Higgins. I wasn't able to see it (Anyone?), but have no trouble imagining O'Hara in the part, and doing a bang-up job of it. O'Hara is currently playing to packed houses in South Pacific, and although I've made my views about the show plain, I remain an ardent fan of O'Hara and her numerous charms.

O'Hara's wish to reprise Eliza on Broadway is hardly a pipe dream, since there appears to be some definite talk about bringing the show back, despite the fact that the Lerner and Loewe classic played the Rialto as recently as 1994 with Melissa Errico and Richard Chamberlain.

Quoth O’Hara: "My husband and I have talked about this. As much as we want to have children, if I were offered My Fair Lady, then he agreed that I should do it. Any other show, we’d choose to have a kid.”

Wow. I say we give the gal a shot. Are ya with me?

Pal Joey Gets Super Cast

The upcoming Roundabout Theater revival of Pal Joey is quickly garnering must-see status by amassing a first-class cast.

As long rumored, Tony winner Christian Hoff will play Joey Evans, a role that he was truly born to play. The magnificent Stockard Channing will make her long-overdue return to Broadway as the bewitched, bothered, and bewildered Vera Simpson. Joining them will be two-time Tony nominee Martha Plimpton as Gladys Bumps, a role that will apparently be much more prominent once playwright Richard Greenberg is through with his adaptation.

Greenberg has his work cut out for him. As a show, Pal Joey is historically significant for numerous reasons, including using dance for dramatic purpose, as well as being the first significant use of an anti-hero (a main character who isn't exactly an angel) in a musical. Yeah, we see anti-heroes all the time now (Sweeney Todd, How to Succeed in Business Without Really Trying, The Producers, Gypsy, etc.), but way back in 1940 it was a novelty, prompting critic Brooks Atkinson to famously ask "Can you draw sweet water from a foul well?" As significant as Pal Joey is, the book is creaky at best, and could certainly use a good tune-up.

The show will sport direction by Joe Mantello (Wicked, Assassins) and choreography by always-a-Tony- bridesmaid-never-a-Tony-bride Graciela Daniele. Performances for this limited engagement of Pal Joey begin in November, toward a December opening. As a Roundabout subscriber, I already have my ticket, and I'm greatly looking forward to seeing what this top-notch cast and first-rate production team are going to put together.

More Spamalot Stunt Casting

As if the Broadway production of Spamalot hadn't already jumped the shark with Clay Aiken, comes news that the long-running hit will soon star former 98 Degrees member Drew Lachey and "7th Heaven" star Stephen Collins.

Spamalot has so far racked up more than 1,300 performances, but is showing definite signs of winding down its run. The show regularly appears on the board at TKTS -- which explains why the average ticket price for the show has been hovering around $75 -- and has been playing at about 80% capacity since the first of the year.

Lachey is no newcomer to stunt casting: he played Roger in Rent for seven months a few years back. Times Square had a big beefcake poster of him staring languidly at the camera. ('Cuz, that's what Rent is all about, right?) I'm not sure that bringing in Stephen Collins constitutes stunt casting, though. Sure, he's a TV name, but I can't imagine too many people are going to buy a ticket just because the dad from "7th Heaven" is in the show. (I could be wrong. It's happened before.) Collins actually has quite a few Broadway credits to his name, but anyone familiar with the cast recording to Putting it Together knows that his singing voice is...well...the less said the better, really.

It's no surprise that Collins will play the King Arthur role, but you'd think that Lachey would be Sir Lancelot, or even Sir Galahad. In fact, he's going to play Patsy. You know: the grubby guy with the coconuts, manservant to King Arthur. Hardly the glamor role one might expect for a former teen idol, although Patsy does get a couple big numbers in the second act, including "Always Look on the Bright Side of Life." Perhaps there are some Mario Lopez-esque costume changes in store: Patsy in a tank top? Patsy in spandex shorts?

In other Spamalot news, the London company is engaging in a little stunt casting of its own by bringing in Sanjeev Bhaskar, better known to BBC audiences as the host of "The Kumars at No. 42," who takes over the King Arthur role later this month. (Could King Arthur have been of Indian descent? That's a provocative genealogical notion, but methinks it's really just an extreme case of color-blind casting.) The London production of Spamalot has also announced that it will close in January of 2009, and will have played more than two years at that point. It's not often you hear about closing notices that are that far in advance. And it's interesting that Spamalot would run longer in America than in Monty Python country.

Perhaps the Brits are used to the real thing, and would thus be less enamored with imitation Python. 

Harry Connick on Broadway: Act 2

More news on the hotties-returning-to-Broadway front. Tony nominee Harry Connick Jr. is planning his next New York theatrical outing in yet another "new Gershwin musical," this one called Nice Work If You Can Get It. Connick proved himself a fine comic actor as Grace's sometimes husband on "Will & Grace," although he was often a bit stiff in the recent revival of The Pajama Game.

Connick's PG director, Kathleen Marshall, will direct and choreograph NWIYCGI, which will hopefully help her atone for the sins of Grease. The book for will come from Joe DiPietro, who penned the long-running I Love You, You're Perfect, Now Change and the not-so-long-running All Shook Up. At one point, the show was called Heaven on Earth, and was purportedly based on the original Gershwin musical Oh, Kay!, although it's not clear whether that remains the case. The show also appeared at the Goodspeed Opera House in 2001 under the title They All Laughed.

When I say "yet another" new Gershwin musical, I of course refer to the fact that everyone seems to think the Gershwin songbook is ripe for the picking when it comes to putting together a "new" show. You might think that the idea of a "jukebox" musical is a relatively recent invention, but people have been plundering George Gershwin's marvelous work ever since he passed away in 1937. My One and Only and Crazy for You are only the most recent examples. Hollywood also recycled Gershwin tunes for quite a few movies, including "An American in Paris" "Funny Face," "Rhapsody in Blue," and the disastrous "They All Laughed." 

Of course, there are many reasons that it's so tempting to appropriate Gershwin songs. Firstly, they're just so many of them that are outstanding. But it's also because most of them were written at at time when show songs didn't always have a tremendous amount to do with the show itself. Many of the songs were just written to be hits, and if the song happened to serve some purpose in the show, well, even better. It's interesting to note that you rarely see anything from Of Thee I Sing, Let 'Em Eat Cake, or Porgy and Bess in any of these compilation shows, because those three Gershwin shows were crafted post-Show Boat, a time when the creators of musical theater were much more interested in creating integrated works.

Nice Work if You Can Get It is currently scheduled for a February 2009 opening in New York after a December tryout at Boston's Colonial Theater.

Hugh Jackman in A Star Is Born?

We've been hearing so much lately about Hugh Jackman returning to the Broadway stage, so it would behoove us all to take this latest possibility with an entire lick of salt. In recent months, the criminally hot Mr. Jackman has been said to be considering a return to the New York in Pal Joey (true, but plans fell through), Leap of Faith (true, but just in a workshop production), and Stop the World - I Want to Get Off (not true, and we can all be thankful for that).

The latest purported vehicle for The Return of the Jack Man, according to Michael Riedel of The New York Post, is a stage version of the Judy Garland movie A Star Is Born. No, Jackman won't be playing the Judy role in drag; he's considering the role of Norman Maine, played in the movie by James Mason. Michael John LaChiusa will adapt the book from the original screenplay (by Moss Hart and Dorothy Parker, no less). The production will also feature the original Harold Arlen and Ira Gershwin songs, including "The Man That Got Away" and the "Born in a Trunk" sequence. Presumably, LaChiusa will also supply any addition songs that the show requires.

I don't know about you, but Michael John LaChiusa is the LAST person I would expect to be working on a project like this. I've always admired his shows (Hello Again, The Wild Party, Marie Christine, See What I Wanna See, Bernarda Alba, First Lady Suite, Little Fish, etc.), but I've never really enjoyed any of them. They usually seem to me like master's theses set to music: lots of clever ideas, but not a lot of palpable human emotion. But perhaps this will be the show in which the Tin Man finds a heart.

Anyway, back to Hugh Jackman. The last time I was in London, I stayed with a friend who lives one street over from Jackman's London flat. In fact, you can see Hugh's bedroom windows from my friend's home office. (See photo left: they're the ones in the middle, top floor, with the shades drawn. Sigh.) Alas, Hugh was not in residence while I was in London. So I guess I'm going to have to wait to see if this A Star Is Born production ever comes to fruition. Either that or I could offer my houseboy services to my London friend in exchange for stalking privileges.

[NOTE TO INTERPOL: Kidding.]

More Shrek Casting - James and Tartaglia

More casting info for the upcoming Shrek musical has emerged, including news of who'll be playing the central roles of Shrek and Donkey: Broadway vet Brian d'Arcy James will take on the title role, and Chester Gregory II will be his four-legged sidekick. Tony nominee John Tartaglia will play Pinocchio, a tiny role in the movie that will apparently be larger in the stage version (else why bring in Tartaglia?). 

As previously announced, Christopher Sieber will play Lord Farquad (leaving his Sir Galahad role in Spamalot to one Bradley Dean), and Sutton Foster will be Princess Fiona (and will likely be well rid of her role as Inga in the floundering Young Frankenstein). Kecia Lewis-Evans will play the Dragon, which was a non-speaking role in the movie, but that will presumably change on stage.

I've heard from numerous sources that the score needs work. Yes, one of those sources was Michael Riedel, who's been making some snarky comments in his New York Post column that the songs "weren't tuneful" and the lyrics "weren't clever." But I've also heard from other people who've attended the workshops that things weren't quite where they needed to be if this show is going to be a crowd-pleasing money machine.

As Young Frankenstein proves, there's got to be some thought and effort behind even the most seemingly sure-fire hits, or else the word gets around, and the advance gets thinner. The producers of Shrek are assembling a strong cast of Broadway pros, but the cast of Young Frankenstein aren't exactly amateurs, and it ain't making up for the lack of quality in the book and the score.

Jeanine Tesori, who's composing the music for Shrek, is an immensely talented musician, and has proven herself adept at both light-hearted fare (Thoroughly Modern Millie) and more high-minded offerings (Caroline, or Change). David Lindsay-Abaire, who's doing the lyrics and the book, may have won a Pulitzer Prize (in 2007 for Rabbit Hole), but he has only one previous musical under his belt, the flop High Fidelity. That's gotta give the folks at Dreamworks some cause for concern. Director Jason Moore did a bang-up job on Avenue Q, so maybe he'll be able to pull everything together during the show's Seattle tryout in time for its Broadway bow in November.

Kevin Federline in Legally Blonde?

Another sign of the impending apocalypse: US magazine reports that Kevin Federline may be joining the cast of Broadway's Legally Blonde. Presumably as Warner, the part originated by Richard Blake? Or perhaps as the UPS guy that Paulette falls for? Or maybe even the "Is he gay or European?" dude at the trial? Certainly not as Emmet, the good guy who gets the girl, a part originated by the talented Christian Borle?

I was willing to cut the show some slack for its upcoming MTV reality show. (Especially when one of my recent Boston Conservatory students, Chloe Tucker, was chosen to participate. Break a leg, Chloe!) I mean, if some cheap publicity stunt keeps a bunch of worthy actors working, what's the big deal, right?

But Kevin Federline? The former Mr. Britney Spears? Come on. How much lower on the celebrity food chain can you go? Who else is on their list? Fabio? Kato Kaelin? Lyle Menendez? How's about we dig up Anna Nicole Smith and prop her up in the background? It would certainly garner some attention, and that's really what it's all about, right?

Perhaps the producers of this energetic but flawed show (see my review) should embrace the inevitable, let the show run its natural course, and then free up the venerable Palace Theater for a more deserving tenant.

[UPDATE: Call off the apocalypse. According to US magazine, the Federline deal fell through because of "money issues." Shucks and darn.] 

Mario Lopez as Zach in A Chorus Line

I actually laughed out loud when I read this.

Mario Lopez will join the current revival of A Chorus Line on April 15th. You know, Mario Lopez. He of "Saved By the Bell," "The Bold and the Beautiful," and the abortive male clone of "The View" called "The Other Half." He will take over the central role of Zach, the director, from Michael Berresse.

The paucity of his theatrical credits aside, will Lopez actually be executing the choreography? 'Cuz that's some pretty hard dancing that Zach has to do in the opening number. I know he was on "Dancing with the Stars," but this is Michael Bennett's A Chorus Line, not his Ballroom. Now, I'm willing to give almost anyone the benefit of the doubt, but this casting "coup" strains credulity.

The show has been playing to half-empty houses for a while, but it never occurred to me that the producers would engage in stunt casting to keep it going, let alone stunt casting this ridiculous and desperate. Somehow I must have instinctively felt that the producers of such an august show would be above that sort of maneuver.

Apparently not.

So, Mario Lopez, huh? Are they going after the gay audience? Or the swooning teenage-girl crowd? Not sure why: Zach is offstage 90% of the time. I know because I've played the part twice. So it's not like the audience is going to have much opportunity to stare at his ass.

Oh, and check out the head shot. Have you ever seen so much air-brushing? It looks like one of those velvet Elvis paintings or some misbegotten horror from Thomas Kincade, "painter of light."

Maybe they can bring in Elizabeth Berkley to play Cassie. Or Danny Bonaduce to play Connie. Or Wilford Brimley to play Sheila. Heck, it doesn't matter, as long as they sell a few tickets, right?

South Pacific's Paulo Szot on YouTube

I continue to come across images of opera star Paulo Szot. (All right, so I don't so much "come across" them as actively seek them out. What's your point?) Szot makes his Broadway debut this season with the current Lincoln Center Theater revival of South Pacific.

Those interested in previewing Szot's vocal style can check out a few clips of his singing on YouTube. Here's one of him singing something by Ravel. His lower register seems a bit thin, but his upper range appears quite strong. (Then, of course, there's the hair. Oh, my God, the hair. It's Billy Ray Cyrus in a fancy tux.) 

Another YouTube clip features Szot performing in Tchaikovsky's Eugene Onegin. I can't quite focus on his performance here because he just looks so friggin' hot. The hair is much better, and that costume is incredibly flattering. (But what's up with the shark-skin pants?) Forcing myself to see beyond the veneer, it appears that Szot has a very rich voice overall. The scene, however, seems rather static, so I'll be interested to see whether Szot is going to be one of those stand-and-sing opera-to-musical-theater dilettantes.

There was a time -- and, oh, what a time it was -- in the mid '80s when opera folk descended upon musical theater on studio cast recordings. The chief perpetrators here were Kiri Te Kanawa (My Fair Lady, West Side Story, South Pacific, et al), Jose Carreras (South Pacific, West Side Story), and Placido Domingo (West Side Story, Man of La Mancha). These recordings were almost universally dreadful, especially West Side Story. (Oh, the horror. I get PTSD just thinking about it.)

Let's hope Szot transcends that not-so-grand tradition and singlehandedly acquits past operatic transgressions. No, pressure, Paulo.

South Pacific: Sexy Stars?

I had never heard of Paulo Szot before he was cast as Emile de Becque in the Lincoln Center Theater revival of South Pacific, which begins previews at the Vivian Beaumont Theater tomorrow. But I assumed that since he was coming from the world of opera that he would be a man of...um...stature and maturity? In other words, fat and old.

Then I saw pictures of him on Playbill.com, such as the one to the left of him and Kelli O'Hara. Wow, he's kinda hot, huh? So I guess in this version of the Rodgers and Hammerstein show, Nellie and Emile aren't going to be dumpy and middle-aged, which is how they're typically cast. Indeed, the folks who've played Nelly and Emile in the past have tended to be of a certain age:

ORIGINAL BROADWAY CAST:
Mary Martin
Ezio Pinza

1958 MOVIE VERSION:
Mitzi Gaynor
Rossano Brazzi

2001 TELEVISION CAST:
Glenn Close
Rade Serbedzija

2006 CARNEGIE HALL CONCERT:
Reba McIntyre
Brian Stokes Mitchell

The cast for the current production seems to skew a little bit more on the younger side. Kelli O'Hara is 32, although she'll turn 33 during the course of the run of the show. I couldn't find Paulo Szot's birth date online, but as far as I can tell he started singing professionally in 1996, which means he's probably in his thirties as well.

Will the show work without the gravitas of more mature performers? Did the show ever work in the first place, or is it, as I've often contended, the most overrated musical of all time? I'll be seeing this production next week, the same day I'll be taking in the Roundabout Theater production of The 39 Steps. Look for my review of both shows early the following week.

South Pacific Revival Amasses Stellar Cast

The upcoming Lincoln Center Theater revival of Rodgers and Hammerstein's South Pacific is putting together quite a lineup of talented performers for what will be the first Broadway revival of that show. As I've mentioned numerous times in this space, I am not now, nor have I ever been, a big fan of South Pacific. But I must say that, the more I hear about who's involved, the more the show is looking like a must-see:

Kelli O'Hara...Nellie Forbush
Paulo Szot...Emile de Becque
Matthew Morrison...Lt. Cable
Danny Burstein...Luther Billis
Loretta Ables Sayre...Bloody Mary

O'Hara and Morrison are certainly no strangers to each other, having previously played the young lovers Clara and Fabrizio, also in the Vivian Beaumont Theater, in Adam Guettel's luminous musical The Light in the Piazza. And Danny Burstein practically stole the show in his recent stint as Aldolpho in The Drowsy Chaperone. I'm not familiar with Paulo Szot, but evidently he's coming to Broadway from the opera world. Sometimes that works (Ezio Pinza in the original South Pacific), but sometimes it doesn't (Teresa Stratas in Rags).

BTW, James MacMullan's poster art (see image above) for this production is uncharacteristically cluttered and unfocused. I collect MacMullan's posters, and always look forward to seeing how he'll capture the essence of a show with his unique blend of watercolor and gouache. I see what he's going for with the SoPa poster: R&H meets Paul Gaugin. But that doesn't really work metaphorically: Gaugin was depressive and suicidal, and although South Pacific is a bit dark, it would be a stretch to call it brooding. However, in MacMullan's defense, there's a certain desperate hopefulness in some of Gaugin's Tahiti paintings that could certainly meet the tone of South Pacific halfway.

South Pacific begins previews at the Vivian Beaumont March 1st and the show runs until late June.

Drowsy Chaperone Not Closing in January

Last month, Michael Riedel erroneously reported that The Drowsy Chaperone would be closing in January. He later printed a correction:

* "The Drowsy Chaperone" has not, as wrongly reported here on Wednesday, announced that it will close in January. In fact, sources say, its producers hope to entice Liza Minnelli into the role of the boozy title character sometime in 2008.

Which means that this delightful show is officially past its brief hit status and passed into the stunt-casting stage. The show has already made significant forays into same: comedian Bob Saget is currently starring in the show as Man in Chair. And after December 11th, the show will have a new Mrs. Tottendale when Joanne Worley leaves. Taking her place will be Cindy Williams, better known to the world as Shirley Feeney on "Laverne & Shirley."

Saget hasn't provided much of a lift to the show's sagging grosses, and it's highly doubtful that Williams will provide much of a lift either. But there's no question that Liza would give the show a real shot in the arm. Heck, I might even be enticed to see it a third time if Liza comes in to play the eponymous chaperone.

[AMENDMENT: A few weeks after denying that the show was closing, the producers announced that the show would in fact be shuttering. The Drowsy Chaperone closed on Broadway December 30, 2007.]

Casting for Sunday Revival

Casting is now complete for the upcoming Roundabout Theater revival of Stephen Sondheim's and James Lapine's Sunday in the Park with George. I was under the mistaken impression that the entire London cast would be making the Broadway transfer (not sure where I got that idea, upon reflection), but apparently only stars Daniel Evans and Jenna Russell will repeat their roles, as George and Dot, respectively.

Joining Evans and Russell will be Broadway veterans Michael Cumpsty as Jules/Bob, Alexander Gemignani as Boatman/Dennis, Jessica Molaskey as Yvonne/Naomi, and Mary Beth Peil as Old Lady/ Blair. The cast will also include Boston Conservatory alum Anne Nathan as Nurse/Harriet Pauling.

Regular readers may recall that I saw the London revival of Sunday in the Park with George and was absolutely blown away. (Read my review here.) The production was a stunning combination of state-of-the-art (pun intended) digital technology and palpable, empathic direction. Sam Buntrock coaxed multi-layered portrayals from his uniformly excellent London cast. We can only hope that he manages a similar feat with his redoubtable Broadway cast.

The Roundabout revival begins performances at Studio 54 in January, opens in February, and is currently slated to run until the end of April. Do yourself, and the Roundabout, a favor and grab a ticket to this show. Multiple tickets, even.

"I chose and my world was shaken. So what? The choice may have been mistaken. The choosing was not." -- Stephen Sondheim

More Stunt Casting: Clay Aiken in Spamalot

Speaking of stunt casting, it appears that "American Idol" runner up Clay Aiken will be donning tights (For the first time? You be the judge) and stepping into the armor-soiling role of Sir Robin in Monty Python's Spamalot early next year.

Holy freakin' crap.

If I actually followed pop music, I might know a little something about Aiken's post-Idol success. All I know is that he's become a living, breathing punchline, thanks in large part to the comedic ministrations of D-list denizen Kathy Griffin.

As I mentioned in my previous post below, I'm usually willing to give anyone the benefit of the doubt. But I really have a hard time seeing Aiken as Sir Robin, especially after having seen David Hyde Pierce perform the role so masterfully with the original Spamalot cast. Methinks Aiken might be better off taking on the role of Prince Herbert, the guy who falls in love with Sir Lancelot. But Clay "No Really, I'm Straight. Honest" Aiken would certainly never take on that role. It would probably hit a little too close to home.

Aiken will be appearing in Spamalot from January to May 2008.

Stunt Casting: Bob Saget and George Wendt

Many a theater queen will poo poo the increasingly common practice of stunt casting: bringing in a supposed brand-name star to shore up the flagging box office of an attenuated hit or a struggling not-so-hit. The most notable practitioners are Fran and Barry Weissler, who've turned the practice into a bit of an art, first with the 1994 revival of Grease, and now with the 10-years-long-and-going-strong Chicago revival.

I'm all for stunt casting if it keeps an otherwise worthy show going. Witness the recent announcement that comedian Bob Saget ("Full House," "America's Funniest Home Videos") will be joining Broadway cast of The Drowsy Chaperone on October 19th. I've made no secret of my love for this charming and funny little show. And box office for the show has been dropping faster than a prom dress. So if Saget's presence gets people to see the show who otherwise mightn't, well heck I say bring 'em on. Saget is a very talented man, and although I have a bit of trouble seeing him as Man in Chair, he's an extraordinary comedian who will no doubt bring his own quirky comedic style to the role.

The producers of Drowsy Chaperone seem to be taking a page from the very successful Hairspray play book. The latter's producers have bolstered the box office of their long-running hit by bringing in a seemingly endless procession of stunt performers, including Lance Bass, Jerry Mathers, and a bunch of teenybopper hoodsies with whom I won't even pretend to be familiar. Now, later this month, TV star George Wendt ("Cheers") will take on the central role of Edna Turnblad.

Norm as Edna? Well, stranger things have happened. I'm typically open-minded when I hear about well-known performers taking on boundary-stretching roles. I saw Judith Light ("Who's the Boss?") play the lead in Wit, and she absolutely blew me away. After that, I'm willing to give nearly anyone the benefit of the doubt.

So we'll see how both Saget and Wendt ease into their respective roles. I wish them luck, not least because it will help keep worthy shows running.

Cry-Baby Tryout and Casting

The new musical Cry-Baby is looking more like a definite prospect for this Broadway season. Based on the 1990 John Waters movie starring Johnny Depp, the show will play an out-of-town tryout at La Jolla Playhouse. The San Diego cast will include Tony winner Harriet Harris and newcomer  James Snyder in the Johnny Depp role.

The show is a bit of a sophomore effort: it represents the second John Waters movie to become a Broadway musical under the ministrations of librettists Mark O'Donnell and Thomas Meehan, who both helped craft Hairspray into a beehive-sized hit. The songs are by Broadway newcomers David Javerbaum and Adam Schlesinger. Rob Ashford, Tony winner for Thoroughly Modern Millie, will choreograph, and Mark Brokaw will direct.

I'm a big fan of John Waters, so I'm hoping this show will work out. "Cry-Baby" is definitely one of Waters' more accessible efforts. It's basically a parody of all those awful Elvis Presley musicals of the 50s and 60s, particularly "Jailhouse Rock." I can't imagine there will be many more Waters movies made into Broadway musicals, although as I've said before I think "Serial Mom" would make a great campy Off-Broadway bloodbath musical, a la Little Shop of Horrors and Bat Boy.

Cry-Baby begins its San Diego tryout in November and is aiming for Broadway opening in April 2008.