BROADWAY UNDERCOVER

Photo by Joan Marcus.

Kicking a Dead Horse, written and directed by Sam Shepard, which is currently gracing the Martinson Theatre stage at the Public Theater, is a Beckettesque presentation similar to Endgame.  Stephen Rea brings his considerable talent to this one-man piece as Hobart Struther, a man trying to find himself after achieving considerable success on Park Avenue who is  suddenly thrust into a very difficult situation in the middle of nowhere with a dead horse.   It is essentially a monologue discussing a variety of subjects such as the demise of the American west as we knew it, to United States politics, including the loss of hope.  Originally presented at the Abbey Theatre in Ireland, it’s a unique play which, unfortunately, leaves the audience not wanting more. Except for a brief appearance by a woman who does not speak, Rea does his thing quite admirably for 90 minutes.

A post-show discussion followed Tuesday evening’s performance which was both interesting and enlightening.  According to Rea, Sam Shepard has an obsession with Beckett and wrote this play in a similar style.  When asked why the scenery was deliberately phony he said, “It’s a play you know….it’s about the language,” and as he checked out the “old west” behind him his response continued with, “I think it’s rather beautiful actually.”  He felt that developing an American accent was just part of his job akin to learning the lines.  An audience member wondered how the response to the play differed  from Ireland to the United States to which he replied, “I thought it would be more poignant here than in Ireland but it was about the same. “  Rea admitted that it was a challenge to talk about the wild west since he’s an Irish lad, but Kicking a Dead Horse encompasses much more than its setting.

A western hat carries a degree of significance which, according to the actress sharing the bill with Rea who retrieves said hat, it’s telling Hobart in a somewhat spiritual manner that he has another chance.  The conversations between Shepard and Rea regarding the play were oddly enough not of great substance insofar as meaning,  and were not of a political nature, which it does touch on.  Rea told a story about meeting an elderly gentleman outside the theatre after a performance who put the meaning of the play very well.  “It’s very Beckettesque….it goes from birth to death.”We were fortunate to exchange a few words with Rea as we left the Public.  He’s a very low key but charming guy who agreed that Merrill shoes are the greatest and that Someone Who’ll Watch Over Me, the Broadway play he did in 1993 which we saw, was a lot fun.  Sam Shepard wanted him for this role and we know why.  

The Big Apple was bustling on Saturday with the annual Broadway Barks event in Shubert Alley to raise money for animal shelters and give people the opportunity to adopt a dog.  Bernadette Peters and Mary Tyler Moore took center stage and were engaging as usual in their attempt to accomplish these goals, while introducing many theatre folk along the way.  Along with the enormous crowd that gathered to participate in this happening, a cacophony of barking dogs made the event complete.

Although [title of show], currently at the Lyceum Theatre,  boasts energetic performances from an earnest group of actors it, unfortunately, fails to impress.  The concept is quite original but in our view this vehicle is of an amateurish nature and would be better suited to an Off-Broadway house where this intimate piece began.  You can’t help but admire the performers for their effort but the end result misses the mark.   

If you want to get tickets for the sold out South Pacific here’s a worthwhile tip.  Try the cancellation line which forms prior to each performance and you just may be successful.  If you’re willing to put in the time (about four hours prior to curtain), lady luck may shine on you and you may find yourself spending a glorious three hours captivated by this amazing production.  Good luck!  

Broadway is at its best when it combines new creative juices such as Passing Strange and In The Heights with the glorious musicals dynamically revived such as South Pacific and Gypsy.

The current Lincoln Center Theatre production of South Pacific is a flawless presentation of the great Rodgers and Hammerstein classic tale with a cast not missing a beat.  Kelli O’Hara, Paulo Szot, Matthew Morrison and Danny Burstein along with a full formally clad orchestra bring to life the glorious music filling the theatre with three hours of pure joy.  The dramatic moments of the piece are beautifully acted along with the lighter aspects of the show.  Nellie does attempt to “wash that man right out of her hair” eight times a week which, according to Kelli O’Hara, is actually a wig with a microphone under it snugly fastened to her head.  Danny Burstein shared info re his tattoos which he applies on a weekly basis.  As the audience leaves the theatre I think they have the feeling that they were indeed transported to Bali Ha’i.

Damn Yankees, currently in previews at New York City Center, featuring Sean Hayes, Jane Krakowski, Cheyenne Jackson, Randy Graff and a raised on stage orchestra is an okay version of an okay musical that is a crowd pleaser at times but lacks that special quality.  The performances are acceptable but neither the actors nor the show shines and with the exception of a couple of songs the music is not memorable.  You don’t exit the theatre thinking you’ve wasted your time but get thee to Gypsy and South Pacific if you want to catch a couple of great revivals.  Unfortunately, it’s too late for Sunday in the Park with George.

“It left a very bad taste in my mouth,” she says. “I shouldn’t be cut off from making a speech after being nominated so many times and then finally winning at the age of 70 — whatever it was. I want nothing to do with the Tonys. I’ve lost my Tony. I don’t even know where the hell it is. No idea,and I don’t give a [expletive] either. I really don’t. And what the [expletive] are the Tonys doing in Radio City Music Hall anyway? This is the American Theater, not the Rockettes.”

Broadway stars descended upon Radio City Music Hall Sunday morning for the Tony Awards dress rehearsal.   For Broadway fans like us, it’s the highlight of our year as we watch the casts gather, mingle and perform.   Mistakes are made and many a naughty word flies out of the most unexpected mouths.   Cues are missed, fake awards are distributed to “for this rehearsal only” winners and vintage TV commercials are played for the crowd during breaks.   In other words, it’s Broadway utopia!

Most of the actors showed up this year for rehearsal.   It’s fun to watch them - some are much smoother than others, some are much more amusing than others.   Mary Louise Parker worried that she sounded like an “a-hole,” and Lilly Tomlin barely got through it.  Kristin Chenoweth kept true to her personality and giggled the entire time.  And Whoopi Goldberg was quite an entertaining host even at the rehearsal.

As the casts of the different shows filed in and sat in the orchestra waiting to perform, you could feel the camaraderie of the special club to which they belong.   It was fun to see the intricate costumes up close and personal.  We watched as they stretched and warmed up preparing to hit the stage.  They seemed to seize the moment with one another to catch up.  Mostly, they all seemed thrilled to be at Radio City for the coveted Tony Awards.  You could truly feel the joy.

Then there were the dramatic moments of the morning.  Patti LuPone was set to do her thing from Gypsy.   She flubbed the first line of dialogue and seemed ill at ease.  She started to sing “Everything’s Coming Up Roses” and abruptly said to stop because she couldn’t hear the music.  Then she addressed the “Tony people” and told them to “please put the orchestra in the pit,” referring to the obvious absence of that stellar group of music makers.   She echoed the sentiments of the audience as applause erupted in agreement throughout the theatre.  It made for a tense couple of moments while they tried to fix the problem.  She started again and didn’t disappoint with an electrifying rendition of a song that she has made her own.  But when there was a screw up with the Sunday in the Park with George number, Jenna Russell was very sweet and non-diva-like as she waited for it to be rectified.

It was also fun to watch John Waters looking quite pleased as he watched the cast of his baby, Cry Baby, perform the show’s best dance number “I’m a Little Upset.”   And watching the original cast of Rent was fun — particularly when Idina Menzel sweetly nudged hubby Taye Diggs referencing how they met doing the show.

The amazing part is that when all is said and done, like all shows, despite all the problems in the morning rehearsal, the Tony telecast ran pretty seamlessly.

What a “strange” title for a Broadway show.

The phrase has many meanings but captures the essence of the new rock and roll musical with book and lyrics by Stew and the musical collaboration of Stew and Heidi Rodewald.  According to the Belasco playbill….’it applies in the context of people ’passing’ for what they are not - culturally, psychologically and so on” which is a perfect fit for this innovative and energetic new show which was first presented off-Broadway at the Public. 

It boasts a terrific score with high-power performances from a relatively unknown cast tracing the journey of “Youth” played with gusto by Daniel Breaker as he learns valuable life lessons along the way.   As founder, leader, singer and songwriter of The Negro Problem, a pop rock combo out of L.A., Stew split his time between two careers to create Passing Strange.  When asked about the creative process he said, “We started working on it in 2004, but you have to understand we didn’t work everyday.  We have lives…we’d go on tour…..so it wasn’t all the time but every once in a while till we started to get serious…We all discussed it together…always collaborating and getting other people’s opinions.” 

When the Tony Awards were mentioned Stew made it quite clear that he has a second career and said, “I don’t care about the Tony awards.”  He seemed, however, to truly enjoy the audience reaction both in the theatre and at the stage door.     

Avery Fisher Hall at Lincoln Center presented a one night only event Tuesday, May 20th, featuring Marvin Hamlisch conducting the New York Philharmonic Orchestra in a program entitled “Broadway’s Greatest Showstoppers.”  Joining this auspicious group bringing voice to this glorious music were the likes of Raul Esparza, Kristin Chenoweth, Michel Bell and J. Mark McVey.   

The evening began with two dancers tapping to a Broadway beat suddenly joined by what appeared to be a third of the orchestra, but in reality, were additional dancers posing as members of this esteemed musical group.  They went on to perform a dazzling opener.  McVey then offered his rendition of “Bring Him Home” from Les Miz, followed by Michel Bell repeating his Tony Award version of Ol’ Man River from Showboat. 

Hamlisch and the Philharmonic brought music to our ears with the My Fair Lady overture, as well as the Chorus Line overture, which had never been played before an audience having been eliminated from the show prior to its Broadway run. 

Although these were glorious moments, the night belonged to Raul Esparza and Kristin Chenoweth, both performing at the top of their game in solo and duet performances.  Esparza’s version of the “Soliloquy” from Carousel brought the house down, which he then followed with “Being Alive” from Company.  Chenoweth’s incredible range was shown with her interpretations of “Vanilla Ice Cream” from She Loves Me and “Glitter and Be Gay” from Candide.  “Anything You Can Do I Can Do Better” from Annie Get Your Gun and “Tonight” from West Side Story were perfect duets for an engaging twosome whose chemistry calls for their sharing the stage in a future Broadway production in addition to their current “Pushing Daisies” TV gig. 

Esparza revealed he’s currently making a Wes Craven flick playing a serial killer in addition to participating in the Leap of Faith workshop, the new musical scheduled for a 2009 opening.  He’s off to L.A. in July for more work on “Pushing Daisies,” beginning its second season in the fall.  Quite a busy guy whose tremendous talent seems to be reaching all areas of the biz.

Launched 25 years before The Tony Awards, The Drama League Awards are the oldest theatrical honors in North America.   While it has garnered a reputation as being quite long (year after year nominees joke with one another that they need to bring snacks), the event is a class act with definite star power.  Like the old MGM luncheons where the likes of Garland, Gable and Astaire hobnobbed with one another on a dais, Broadway royalty similarly donned the stage at the 74^th annual Drama League Awards on Friday, held in the Broadway Ballroom in the Marriott Marquis Hotel. 

For Broadway fans such as ourselves, the sightseeing and mingling was more than worth the price of admission.  It was just downright fun to be there amongst the likes of Patti LuPone, James Earl Jones, Marian Seldes, Patrick Stewart, Laura Linney, Sutton Foster, Lois Smith, Harriet Harris, Rufus Sewell, Christine Baranski, Laurence Fishburne, Peter Gallagher, Tom Wopat, Chazz Palminteri, Martha Plimpton, Faith Prince, Laura Benanti, Bobby Cannavale, James Snyder, Julie White, Anika Noni Rose, Amy Morton, Deanna Dunagan, Ben Daniels, Elizabeth Franz, Cheyenne Jackson, Kerry Butler, Brian d’Arcy James, Jenna Russell, Daniel Evans, Christine Ebersole and Rosie Perez to name a few.

The well-liked, well-known, friend-to-all, Harvey Fierstein hosted the event.  He introduced the more than 50 nominees for Outstanding Performer of the 2007-2008 Season one by one.  Each was given the opportunity to say a few words; some were quite clever, while others were emotionally overwhelmed just to be there.

Chazz Palminteri told a great story about his early days on the Great White Way.  In 1982 he was the understudy in a play when a couple of his wise guy boyhood friends came to the show.  After he explained to his pals that being an understudy meant not going on “unless something happens to the lead guy,” his friend asked, “So, do you want to go on?”  Palminteri realized what his buddies had in mind and tried to nix the plan.  They told him, “Don’t worry, we’ll make it look like a mugging.”  After convincing them to leave the star unharmed, Palmenteri said he went over to that actor, who Palminteri admitted he was not particularly fond of, and told him, “You don’t know how lucky you are!”

Rosie Perez had a similar neighborhood story during her debut in Frankie & Johnnie in the Clair de Lune.  When the lights went down following a scene, her friends in the mezzanine thought the play was over and started shouting to the rest of the theatergoers to “Stand the F*** up yo, she was good.”  Perez then got emotional and explained to the Drama League crowd, “I’m usually tough and witty, but I’m just overwhelmed” being here among such greats of the stage.  “I’m so glad there’s nobody up here I don’t like because it’s hard for me to be phony.”

Patrick Stewart observed that being up on that dais “is the closest I have ever gotten to dinner theater.”

Tom Wopat, remarking on the progression of his career from a “Dukes of Hazzard” dude to his current role as a father in A Catered Affair, told the crowd, “I used to be an action hero, now I’m a dad.”

Faith Prince spoke seriously about her time away from the New York stage.  “I feel like Dorothy and the Wizard of Oz – sometimes you have to go away and see how special this is…..it’s what my heart needed.”

Following the program we spoke with James Snyder of Cry Baby about the difficulty of performing in a show which is constantly undergoing numerous revisions. “I have a recurring nightmare I am going to forget my lines,” he told us.

A quick chat with Rufus Sewell did not turn up any news, other than the fact that he is quite handsome and charming.

The outstanding performer award went to Patti LuPone for her turn in Gypsy.  She was clearly favored to win and seemed genuinely touched by the honor. A Catered Affair took home the prize for Distinguished Production of a Play; South Pacific won for Distinguished Revival of a Musical. August: Osage County took home the award for Best Production of a Play, while Best Revival of a Play went to Macbeth.

Ellen Stewart, founder and director of the LaMaMa Theater Company was honored for her unique contribution to the theatre.  Award-winning musical director Paul Gemignani was given the award for distinguished achievement in musical theatre, while Bartlett Sher, director of the current Lincoln Center revival of South Pacific, took home the award for Excellence in Directing.

For a full list of nominees, check out http://www.dramaleague.org/.     

Dinner at Sardi’s, Billie Jean King and orchestra seats to The Country Girl were all part of a great fundraising event we attended on Wednesday.  The United States Tennis Association Tennis & Education Foundation’s  2nd annual theater benefit proved to be  a fun evening.  The Foundation supports organizations that use tennis as a vehicle to help youngsters finish high school, reach their goals and qualify for college scholarships (http://foundationgiving.usta.com/ ). 

King is not only a tennis legend, but also an extraordinarily approachable, nice human being as well.  Tennis player and commentator Patrick McEnroe, along with former New York Mayor David Dinkins and Grace Hightower DeNiro (Wife to Robert) were also on hand.  Everyone enjoyed a steak dinner and a brief history lesson on Sardis. 

Then it was onto the Bernard B. Jacobs Theatre for the show.  Even though Morgan Freeman and Frances McDormand are the big names associated with the play, we think Peter Gallagher was a standout, on and off the stage.  Following the show, Freeman bolted to his car with a brief wave to the waiting crowd, unlike Gallagher, who oozed charm and was completely delightful, chatting away with fans.  Actress Tracey Ullman took in the show as did Comedienne Caroline Rhea, who was there to cheer on her pal Chip Zien. 

While expectations were high, unfortunately, the play proved to be a bit of a bore, a surprise considering the stellar cast and a well-known director such as Mike Nichols.  Sometimes, celluloid star talent just doesn’t translate on the stage.    But we left smiling.   You can never go wrong with dinner, and a Broadway show – a quintessential NYC evening!

This has been the year of the play on Broadway with a great season of excellent productions of both new plays and revivals. The casts shined and brought the words to life in a manner that garnered terrific revues for all involved. We applaud those that have been recognized thus far by being nominated for awards by the various theatre organizations.  However, we can’t quite understand how The Homecoming and it’s extraordinary group of actors has been, for the most part, shut out of this esteemed assembly.   Knowing that there isn’t room for everyone on the nominating lists, it’s still difficult to accept the fact that Ian McShane’s ruthless Max, Raul Esparza’s sadistic Lenny, and  Eve Best’s seductive Ruth were overlooked. This revival, a dark comedy by Harold Pinter, left the audience speechless, knowing that they had just seen something quite unique. 

As of this date, the Outer Critics Circle has included some of the principles along with the play in its roster of nominees, and the Drama Desk has given it a nodin the outstanding ensemble performance category. We certainly hope that the Tony committee follows suit and gives The Homecoming and its cast members the recognition it and they so richly deserve.