Everything I Know I Learned from Musicals

Godspell Revival Sets Opening Date

The upcoming Broadway revival of Stephen Schwartz's Godspell will begin previews at the Ethel Barrymore Theater on September 29th (And what's the significance of that date, Ricky?), towards an October 23rd opening.

As previously announced, the show will feature Gavin Creel (Thoroughly Modern Millie, La Cage aux Folles) as Jesus and "American Idol" finalist Diana DeGarmo (Hairspray) as one of his followers.

Although it might be because I've done Godspell twice (hasn't everybody?), and seen it innumerable times more, I can't say that I'm all that excited about this new production. But what do I know about producing musical revivals? I never would have given the green light for bringing A Chorus Line, Les Miserables, or Grease back to Broadway, but each of those runs has been profitable, some abundantly so. And I had serious doubts about yet another Gypsy revival, but so far that production seems to be doing solid, if not blockbuster, business.

So I'll leave the business prognostications to others. I just hope that director Daniel Goldstein (All Shook Up) and choreographer Christopher Gattelli (South Pacific) can come up with some way to make this creaky old show fresh. The piece certainly lends itself to creative/conceptual/pretentious interpretations. I remember one local high school production that got around the show's minimal casting requirements by including a chorus of underclass-persons who acted as the fence. (The crucifixion scene was an unintentional hoot.) I've seen the prodigal son parable told with puppets, with projections, and in sign language. I've even seen an all-male version of the show at a Catholic seminary. (The performer who sang "Turn Back, Oh Man" played it drunk, a la Foster Brooks.)

Often, in their zeal to find some new way to present the show, people seem to lose track of its message. I vividly recall one local version of Godspell (Ricky?) in which most of the performers wore revealing cutoffs and midriff-baring T-shirts, and performed slinky, sultry dances like something out of "Flashdance," or an old Janet Jackson video. ("Wait a minute. What's this show about again? Oh, yeah. That Jesus guy. Anyone seen my body glitter?")

Then there's the piece itself. There's no question that Godspell has a very strong score, but the book is sketchy and episodic, and that doesn't always work in the show's favor. It's the sort of show that pretty much anyone can pull off in a church basement or high school gym. (I've done both.) But when it comes to bringing it back to Broadway, the expectations are going to be a lot higher. I don't envy Goldstein and the task before him. But I'll certainly be making a trip to the Ethel Barrymore to see how he rises to the challenge.

9 to 5 Will Play the Marquis

Add another definite contender to the 2008-2009 Broadway musical season. (I think I may need to redo the upcoming-musical poll to the right.) The new tuner 9 to 5 has just booked the architecturally bland but highly visible Marquis Theater, recent landlord to the departed Cry-Baby, and possible temporary home to a proposed seasonal Broadway run for White Christmas.

After playing an out-of-town tryout at the Ahmanson Theatre in Los Angeles (September  3rd through October 19th), 9 to 5 will begin previews at the Marquis in March 2009 toward an April opening.The very busy Joe Mantello (the upcoming Roundabout Pal Joey) will direct, and recent Tony winner Andy Blankenbuehler will choreograph. The score by Dolly Parton will including her Oscar-nominated title song.

The show has already amassed a terrific slate of principle performers, including Allison Janney as Violet, Stephanie J. Block as Judy, Megan Hilty as Doralee, and Marc Kudisch as Mr. Hart. The recently announced ensemble will include Andy Karl (Mr. Orfeh) Justin Bohon (My Fair Lady tour), Ann Harada (Christmas Eve in Avenue Q), Lisa Howard (Miss Peretti in Spelling Bee), and Michael X. Martin (the stage manager in Curtains).

Yeah, yeah, yeah: It's another movie-turned-musical. But is that really such a bad thing? I mean, inherently? Do we complain when people adapt classic books into musicals? (Perhaps after the fact, we do. Frankenstein, anyone?) And can't musicals from "original" ideas (In My Life, Glory Days) suck just as much as some poorly crafted film-based tuner (Urban Cowboy, High Fidelity)? For the most part, I like to consider each project individually, and wait until I see how the creative staff execute the final show.

Except Dirty Dancing. Yeah, I'm going to see it, but I'm not even going to pretend that I'll enter the theater with an open mind. That mother is guilty until proven innocent.

Upcoming Musicals - Further Out

Following up on yesterday's list of immediately impending Broadway musicals, here are some shows that are a bit further out on the horizon:

EVER AFTER:
Source: Based on Drew Barrymore movie "Ever After," itself based loosely on the Cinderella story.
Cast: None yet announced.
Creators: Music by Zina Goldrich, lyrics by Marcy Heisler (Junie B. Jones, numerous Disney projects). Mauritius playwright Theresa Rebeck will co-write the book with Heisler.
Staff: Doug Hughes (Doubt, Mauritius) will direct, Rob Ashford will choreograph.
Status: The show will have a pre-Broadway tryout at San Francisco's Curran Theater in April 2009.
My Take: Goldrich and Heisler are unknown to me. Rebeck and Hughes are pros, but new to musical theater. Ashford's the only true musical veteran on board. I should probably see the movie before I make any grand proclamations about the quality of the source material, but I hear good things.

TURN OF THE CENTURY:
Source: None! (An original idea? What a concept.) The musical centers on a female singer who can't catch a break, and a male piano player. At the stroke of midnight on New Year's Eve 1999, they both receive a fantastical power and set out together to "discover" America's most popular songs.
Cast: Jeff Daniels and the always delightful Rachel York.
Creators: Book by Marshall Brickman and Rick Elice, of Jersey Boys fame. The score will comprise various standards "from the American songbook."
Staff: Tommy Tune will direct and choreograph.
Status: September 19th to 26th at the Goodman Theater in Chicago. Will the show head to Broadway after that?
My Take: That's a pretty dull, generic title, but any show that creates the possibility of Tommy Tune returning to New York is reason to celebrate. Compilations scores are never a good idea (Big Deal, anyone?), but this one seems to fit in with the theme of the show, so we'll have to see how they pull it off.

THE ADDAMS FAMILY:
Source: Duh.
Cast: No roles have yet been cast for the Broadway production, but Nathan Lane and Bebe Neuwirth will be part of reading in August. Lane was supposed to appear in the upcoming Catch Me If You Can, but according to Michael Riedel, "may find the role of Gomez Addams too good to pass up."
Creators: The very busy Marshall Brickman and Rick Elice are writing the book. The score will be by Andrew Lippa of The Wild Party fame.
Staff: Improbable Theater founders Phelim McDermott and Julian Crouch (Shockheaded Peter) will direct and design.
Status: Scheduled for the 2009-2010 Broadway season following an out-of-town tryout.
My Take: I'm not personally thrilled at the prospect of Morticia and Gomez bursting into song, but it could be fun if the creators find the right story to tell and the right way to tell it.

That's all for now. I'm off to New York City to see [title of show], Bash'd, and Damn Yankees. I'll also be revisiting a few shows, including Adding Machine, A Catered Affair, and Passing Strange. Look for my reviews next week.

Upcoming Musicals - Coming Soon

There's certainly no shortage of musicals, both new and classic, settling into Broadway berths for the next season. Some have already found a home and are even selling tickets (Shrek, Billy Elliot, A Tale of Two Cities, [title of show]). Other have been announced, but are either waiting for a suitable theater to open up, or just haven't started to sell tickets yet (The Story of My Life, Pure Country, 13). Then there are the shows that are a little bit further on the horizon, but remain distinct possibilities for the coming season:

GODSPELL:
Cast: Gavin Creel
Staff: The upcoming Broadway production will reunite the creative team from the recent Paper Mill Playhouse production: Daniel Goldstein (All Shook Up) will direct, and Christopher Gattelli (South Pacific, 13) will choreograph.
Status: Details have been scant, but according to Broadway.com, Godspell will begin previews at the Ethel Barrymore Theater in September and open in October.
My Take: "I know I've seen this show before, in some old high school gym, on someone's basement floor..."

VANITIES:
Cast: Lauren Kennedy, Sarah Stiles, and Anneliese van der Pol
Creators: Book by Jack Heifner, who wrote the play Vanities, upon which the musical is based. Music and lyrics David Kirshenbaum (Summer of '42)
Staff: Judith Ivey will direct, Dan Knechtges will choreograph.
Status: The show will play the Pasadena Playhouse from August 22 to September 28, before bowing on Broadway, reportedly in the fall 2008.
My Take: I saw the play many years ago, and recall it being fun but slight. A group of high school friends meet in the bleachers to talk about their lives: Will this wind up being Glory Days with girls?

9 TO 5:
Cast: Allison Janney, Stephanie J. Block, Megan Hilty, and Marc Kudisch
Creators: Score by Dolly Parton, book by Patricia Resnick, based on her original screenplay.
Staff: Directed by Joe Mantello, choreographed by recent Tony winner Andy Blankenbueler.
Status: Will play the Ahmanson Theater in Los Angeles from September 3rd to October 19th. Possible Broadway bow shortly thereafter?
My Take: Great source material, fantastic cast, and Dolly Parton's first Broadway score. The show has so much going for it, but then so did Cry-Baby.

Tomorrow: Upcoming Musicals - Further Out

Dirty Dancing Headed to Broadway?

The producers of the upcoming national tour of Dirty Dancing - The Classic Story on Stage are billing it as the "pre-Broadway American premiere."

Thanks for the warning.

I'll be catching the show during the Boston leg of its tour in February. Never let it be said that I'm unwilling to give even the most cynical, venal, and misconceived shows the opportunity to prove me wrong.

After all, I saw Happy Days. And after an extended period of intensive therapy, I may yet be able to mitigate the damage to my psyche. Just in time for Dirty Dancing.

A White Christmas at the Marquis?

Hey, if it worked for the Grinch...

Word has it that Irving Berlin's White Christmas may be coming to Broadway this season, possibly at the newly vacated Marquis Theater. (The theater's most recent tenant, Cry-Baby, closed on June 22nd.) The producers told Playbill.com that they are trying to work out an economic structure (i.e. union agreements) whereby the show can make a profit in only ten weeks.

White Christmas has been playing regional gigs for the past few holiday seasons in various cities, including San Francisco, Toronto, and Minneapolis, but it has yet to play New York City. The financial success of two limited engagements for Dr. Seuss' How the Grinch Stole Christmas no doubt factored into the decision to bring the show to Broadway.

When I saw White Christmas in Boston last year, I thought it was professionally presented but a bit creaky. (Read my review.) It's no masterpiece, but it's certainly an enjoyable enough holiday diversion. The highlights were Randy Skinner's outstanding tap choreography, some enjoyable performances, and an engaging "aw shucks" quality to the proceedings, mainly due to Walter Bobbie's idiomatic direction. The show, IMHO, is actually better than the original "White Christmas" movie, of which I admittedly have never been a fan.

As was true of both incarnations of The Grinch, White Christmas will likely be ignored come Tony time, but the show will at least provide diversion -- and employment -- over the upcoming holiday season.

Clearing Off My Desk - Part 1

I've been coming across a bunch of interesting news tidbits lately, but none of them has inspired in me the desire to craft a full-length post. So I thought I'd do a series of those desk-clearing posts, sort of like the ones that lazy newspaper columnists do at the end of the year. (Since this is sort of the end of the theater season, and I'm sort of a lazy guy...)

NERDS THE MUSICAL: We can add another quirky little musical to the 2008-2009 season. This tuner by Hal Goldberg (music) and Jordan Allen-Dutton and Erik Weiner (book and lyrics) was formerly called Nerds://A Musical Software Satire, began life as part of the New York Musical Theatre Festival, and focuses on the longstanding rivalry between Bill Gates and Steve Jobs
Do I care?: The subject matter doesn't scream musical to me, but it sounds like it could be fun with the right treatment. There are some moderately amusing clips on YouTube that the creators have put together to promote the show. So, we'll see.

NICE WORK IF YOU CAN GET IT: The original production team for the upcoming Harry Connick Jr. tuner has parted ways, and Kathleen Marshall has dropped out as director and choreographer. (According to Michael Riedel, Marshall's main squeeze was one of the original producers, but when he bolted, so did Marshall.) Connick remains as the star, and Broadway Across America has become the lead producer.
Do I care?: I already have my ticket for the Boston tryout, but I have serious doubts that the show will work without Marshall. Depending on whom they can line up to replace her, this project may be doomed.

MY FAIR LADY: Cameron Mackintosh is planning a new movie version of the Lerner and Loewe classic. The original score will remain, but the screenplay will reportedly veer a little closer to the original George Bernard Shaw play Pygmalion. Kiera Knightly is currently in talks to star.
Do I care?: At first, I found it presumptuous that they would jettison Alan Jay Lerner's book, but then I recalled that Lerner himself strayed significantly from Shaw's intent. Will they return to Shaw's original ending, which would necessitate cutting "I've Grown Accustomed to Her Face"? Somehow I doubt it.

Check back tomorrow for more musical nuggets.

Bruce Lee: The Musical?

Sometimes when I hear about a new show that someone is working on, I find myself saying "Now, that's a great idea for a musical." Other times, I meet with a challenge to the phrase that I now consider axiomatic: There's no such thing as a bad idea for a musical, only bad execution.

Yesterday I read about a new tuner based on the eventful but abbreviated life of martial artist Bruce Lee. The proposed title is Bruce Lee: Journey to the West.

Perhaps there is such a thing as a bad idea for a musical.

As always, I'm going to give the creators the benefit of the doubt, but I get the feeling that it's going to take some kick-ass execution to make this puppy work. I would have totally dismissed this one if it hadn't been for the personnel involved. The music and lyrics will be by David Yazbek (The Full Monty, Dirty Rotten Scoundrels), and the book will be by Tony Award winner David Henry Hwang (M. Butterfly, Flower Drum Song, Aida, Tarzan). Bartlett Sher (South Pacific, The Light in the Piazza) will provide the direction. That's a rather august crew, so I'm a bit more likely to adopt a wait-and-see stance.

I do hope they reconsider the title. That colon is awkward. I can't think of a successful musical that has a colon in the title. Plus, the title as a whole sounds like that of a made-for-TV movie on Spike.

As for what the show itself will entail, Playbill.com lists the following synopsis for the show: It "tells of the martial arts legend's difficult road to success, as figures from Chinese mythology follow his quest and The Monkey King, a beloved warrior god, becomes his heavenly ally. In a show fusing sources as diverse as martial arts, Chinese Opera, modern dance, and pop music, Bruce struggles to master his skills, purify his spirit and forge a link to unite East and West."

Intriguing? Pretentious? You be the judge. Bruce Lee: Journey to the West is aiming for Broadway sometime during the 2010-2011 season.

(P.S. Happy Liza Doolittle Day, everybody.)

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.]