New York City: January 2005 Archives

Seriously, why hasn't there been an all-nude revival of Oh! Calcutta!?

There have been similar attempts, including The First Nudie Musical (1976) and the more recent Debbie Does Dallas (2002), but nothing has come close to the overall cultural impact. Oh! Calcutta! was a bold, innovative landmark in theater. It included the involvement of luminaries such as John Lennon and Jules Feiffer in its composition.

Called the "The World's Longest Running Erotic Stage Musical!", This famously bawdy review opened Off-Broadway in 1969 before moving to Broadway and then to a revival which ran for a record-setting 13 years. Lyrics and music written by The Open Window (Robert Dennis, Peter Schickele (a.k.a. PDQ Bach), Stanley Walden) who also as the pit band performed and sang most of the music. One of the original actors wasBill Macy, who subsequently hit it big on TV as Beatrice Arthur's malleable hubby on the popular feminist sitcom Maude, and who recently appeared in this year's Surviving Christmas (whoops). Ironically, he also played an uncredited juror in the original 1968 Mel Brooks movie of The Producers starring Zero Mostel (b. 1915 / d. 1977).

It's amazing how much things have changed since the '70s. Back then, Oh! Calcutta!was mainstream, and now ohcalcutta.com points to a skanky pr0n site. Although, ironically, ohcalcutta.com.au points to a what looks like a tasty Indian restaurant in Australia. Bit of a dodgy play by the restaurant on setting their URL to virtually the identically address as a pr0n site, but whatever.

I remember this show being advertised in all the newspapers. It's amazing how much more conservative our society has become...when a nipple can cause a ripple, and where sex has now become dirty.

How did this happen? How did we go backwards in our cultural acceptance of sexuality? One theory, which is interesting, is that the overwhelming mass of Internet pr0n has changed our conceptions of sexuality. Pr0n, as a business requirement, has become increasingly segmented into fetishes. Is pr0n's fetish focus forcing sexuality into the closet, as it appeals to our darker desires, while leaving healthy sexuality behind on the side of the road?

Maybe Oh! Calcutta! could revive the Toronto theater scene, taking advantage of our more relaxed Canadian moral values. Plus it'd be fun to appear naked on stage...

Further to my previous post on the new cast for Fiddler on the Roof, it looks like the re-opening was a triumph, according to Playbill:

"Looking as if he could step in for Harvey Fierstein at a moment's notice, Ron Orbach hit the Minskoff lobby at intermission of Fiddler on the Roof Jan. 20 with a decidedly contented look on his puss. "I feel like the show's back," he said. "It went away for a bit."

In that feeling, the actor was not alone. A fair share of the "re-opening night audience" wore a similar expression, and their ovation at the end of the revival's 377th performance seconded the pervading notion that the Joseph Stein-Jerry Bock-Sheldon Harnick classic was now closer to its heart, humor and roots than what British director David Leveaux opened Feb. 26 with Alfred Molina.

The feeling was mutual on the other side of the footlights, too. "You feel the love coming from the audience," Fierstein admitted at the post-play party, held within the Zhivago-red walls of The Firebird, an elegant Russian eatery a few short blocks west of the Minskoff.

"I know it's a cliche, but it was a dream, and it has come true. To have the audience go insane like that -- and they've done that from the very first performance -- is incredible."

There's no question that they've taken a big gamble with Fierstein and everyone is waiting to see just how hardy Fiddler really is: Can it stand a revolving cast, and sit down permanently like Phantom et al?

"Credit for the off-beat casting director Leveaux passes on to Susan Bristow, who produced the show for The Nederlanders. "I was in Japan at the time this came up," he recalled. "Susan called me and said, 'Look, I'm thinking about life beyond Fred [Alfred Molina]. What do you think about Harvey? He has always been in the back of my mind as somebody who ought to play this.' The instant she said it, I thought, 'Yes, that's it. That's exactly where we need to go.' Harvey touches territory that perhaps was last seen in Fiddler when Zero Mostel played it, meaning you got a great clown on that stage. Fred came at it from the other end of the spectrum. The truth is you gotta be able to do both."

Idina Menzel: You can't keep a Wicked girl down!

From Playbill, January 9, 2005

"Tony Award winner Idina Menzel, who was to play her final performance in Wicked Jan. 9, was injured during the Jan. 8 matinee of the hit Stephen Schwartz musical.

Shoshana Bean, Menzel's standby who was slated to officially take over the role of Elphaba beginning Jan. 11, played the Sunday, Jan. 9 performance.

It had been announced prior to the matinee that Menzel would make an appearance during the musical's final curtain call. The Tony-winning actress, however, surprised the sold-out crowd when she came onstage —- dressed in a red track suit -— to complete the final scene of the musical.

During the curtain call, Menzel was again brought onto the stage so she could take her final bow at what was to be her last performance as the misunderstood Elphaba. Menzel, according to the Associated Press, told the audience, "I love you all. It's been the best year of my life. Thank you."

Let's hope her ribs heal asap so she can begin shooting the movie musical Rent where she will reprise her role as Maureen.

Now, there's a super trooper!

Gosh, everyone sure loves to critique the "Disneyfication" of Broadway. Their two big shows: Beauty and the Beast and The Lion King, (Aida closed in 2004), have changed the face of Broadway, and in mostly positive ways.

Their most important contribution, long-term, is that the "Disneyfication" of Broadway has cleaned up Times Square and made it "family-friendly". With the burst of construction of hotels and restaurants over the last decade, Times Square is now firmly "cleaned up" and should remain safe at night for many years to come.

I certainly wouldn't want to take my kids to Times Square circa 1980. By cleaning up the area, NY has made Times Square acceptable to families, and it helps make Broadway accessible to everyone.

Of course, everything comes with a mixed blessing.

Although I've seen The Lion King 4 times, and Beauty and the Beast 3 times, this is more a reflection of the fact that I have two Broadway-lovin' kids. These are great starter musicals, and they put on a good show. They've done a wonderful job of restoring two historic theaters. But darn it, they sit down FOREVER...

Broadway's not a theme park, and in order to remain vital there has to be a constant infusion of new major shows. I appreciate everything that Disney's done, but couldn't they rotate the shows a bit more, and create more vibrancy in the line-up? There is a great shot in Broadway: The Golden Age where they scan over the theater listings in the late '50s and it's literally one classic show after another.

Disney perfected the "limited time" marketing technique with their videos (they regularly put classic movies "on moratorium" so that they increase sales in the available period). Do the same on Broadway. Mount more shows, more often, and limit the runs so that each show becomes an event.

Oh yeah, and do The Little Mermaid on Broadway too.

Mark Hamill is currently on the cover of this month'sVanity Fair as a part of a big Star Wars layout (he and the other originals have been relegated to the inside of the inside flap). We all know him as Luke Skywalker, but did you know he can sing 'n' dance? Aside from the obligatory Muppet Show appearance, Mark originated the role of Tony Hart in Harrigan 'n Hart for three days in the early eighties, garnering a Drama Desk nomination for Best Actor in a Musical.

He also did several off-Broadway plays.

My connection to Mark Hamill and Broadway was when my husband and I went to see Damn Yankees with Jerry Lewis at the Marquis Theater.

As we were standing around waiting to go in, I spotted Mark also waiting anxiously to go in and hear Jerry Lewis say "Laaadies!!". My husband caught glimpse and proceeded to stare at poor Mark non-stop (I think my husband was under the influence of the dark side of the force) until he got uncomfortable and walked away (Mark, not my husband). So I too can say I've seen Mark Hamill on Broadway...

Husband rebuttal: In my own defense, I spotted Mark Hamill at the theater, and I was unaware of the passage of time as I realized that I was a few feet away from LUKE SKYWALKER, HERO OF MY CHILDHOOD. I just don't see how I can be blamed.

When I started reading Making It On Broadway (Actors' Tales of Climbing to the Top) by David Wienir and Jodie Langel, I thought "Oh, I've heard this all before". Well let me tell you I hadn't! This book should be required reading for every theater student. There are the ususal "the first time I went to the theatre I was hooked" stories. But there are a lot scary stalking stories (It doesn't seem fair for Broadway actors to be stalked -- if you are going to be stalked and attacked, at least you should be making a ton of money!!), lots of insight into the McShow mentality of today's Broadway, and yes, some incredible emotionally-stirring stories that remind them why they went into the business in the first place.

QUESTION:
I hear a lot of "old timers" talk about how hard they worked, never missing a performance, even if they were in a coma, and how lazy young performers are today. I wonder if the lack of the "hard work" attitude that performers from the "Golden Age" talk about might be fostered by the environment that performers must work in now -- rundown theatres that are basically disintegrating and hazards to health; the revolving door treatment of talent for long running shows like McCats, McMiz, and McPhantom, where the cast coming in don't ever get to work with the Director but are shown their blocking (if they're lucky) by the Stage Manager or the Janitor; the skyrocketing cost of theater even when the talent still can't survive in NYC on what they're paid.

Maybe the "hostile" corporate takeover of Broadway has fostered this demotivated employee mentality. Maybe young performers today are not inherently lazy, as is often suggested. As in most things in life, it usually comes down to mismanagement, not bad raw materials. The fish always rots from the head.

Although I loved the movie musical and listened to the Broadway recording and played the piano vocal selections ad nauseum as a child, why wasn't I more motivated to see Fiddler On The Roof with Alfred Molina? Not to mention my oldest daughter Myrna saw it as part of Camp Broadway last August and raved. I just couldn't work up the enthusiasm.

Well, well, well. I'm motivated now!

Harvey Feinstein and Andrea Martin take over as Tevye and Golde this month. I mean, think about it! I really want to see it now. Hopefully Harvey will be wearing the pants and Andrea the dress...I just can't get the image of Edith Prickley singing "Do you Love Me" out of my head...

This is a great score...Stephen Schwartz is a God. Not THE God, but definitely A God...

No, no, I'm not divulging any nasty secrets! In this case NYMF stands for theNew York Musical Theater Festival. This past September, I attended the very first New York Musical Theater Festival, the brain child of Kris Stewart (another Aussie related to Broadway...hmmm...) and many other theater visionaries.

I went down for the last week of the three week festival to volunteer and help out, see shows and shmooze in hopes of helping Plane Crazy be part of the 2005 festival. I staffed the AMC movie theater on 42nd Street, selling t-shirts, giving out information about the festival, setting up for receptions, and directing people to the washroom, and directing people to the theater where the preview ofLadder 49 was playing (the last two were not in my job description). I had a blast, met some great people and saw some great and not so great shows - which is the point of a new musical festival. Get stuff up and see if it works...or not.

Tickets were only $15 and I got in free a lot since I was a staffer. My absolute favorite was Title of Show, a brilliant show (Book by Hunter Bell, Music by Jeff Bowen, Lyrics by Jeff Bowen) about, wait for it, writing a show for the festival! I laughed until I cried and fell off my chair..er...uncomfortable wooden bench (the venues were small, grungy and wonderfully artsy.)

Kendra Bator, a friend of mine from Toronto who is now taking her Masters In Theater Production at Columbia, was helping out on a show by Bob and Jim Walton called The Eyes Are The First Thing To Go. I got to meet the cast and go backstage which was really underground in this eeiry, damp tunnel with what appeared to be stalactites hanging from the ceiling. The dressing room had flooded and the props were floating away...ah, the thea-tuh!

Anyhoo, I just received a note from Kris Stewart and I thought I'd share his good news with you:

"I wanted to drop a note to folks in my address book, as we recently heard that we are receiving the 2004 Jujamcyn Theaters Award, an amazing achievement, considering how young an organization we still are.

Created in 1984, the Jujamcyn Theaters Award is a $100,000 prize given annually to a theater organization that has made an outstanding contribution to the development of creative talent for the theater. Previous recipients have been The Eugene O'Neill Theater Center, American Repertory Theatre, Long Wharf Theatre, The Mark Taper Forum, Second Stage, The Foundation of the Dramatists Guild Young Playwrights Festival, The Guthrie Theater, The New York Shakespeare Festival, Yale School of Drama/Yale Repertory Theatre, The Alliance For New American Musicals,The Market Theatre in South Africa, New York Stage and Film Company, American Conservatory Theatre, City Center Encores!, Atlantic Theater Company, Penumbra Theatre Company, Manhattan Theatre Club, Labyrinth Theater Company, and Shakespeare's Globe Theatre.

Now entering its second year, The New York Musical Theatre Festival (NYMF) presented over 141 events in 26 performance venues across the city during its 2004 Festival, surpassing all expectations and becoming the largest musical theatre event in American history. Aspiring to invigorate the musical theater community by stimulating the production of new and innovative work, NYMF garnered strong reviews and sold-out houses that have led to commercial options for at least seven of its 31 productions. In addition to full productions of new musicals, the festival included improvised musicals, panel discussions, readings, concerts, and cabaret performances, as well as a 39-film new movie musical series."

Canada helped give NYMF an international flair, with showings from Top Gun The Musical andFrankenstein, Do You Dream. I'm hoping that Plane Crazy will continue the tradition next September!

Not too long ago I learned a valuable lesson -- never prejudge. When I was in New York last April attending the Commercial Theater Institute's 3-day producer conference, I could have gone to see The Boy From Oz for $50 - half off at the TKTS booth in Times Square. And great seats to boot. However, I was too skeptical about the star casting: Hugh Jackman as Peter Allen.

Hey there, you with the stars in your eyes, here I start on the countdown to the revival of The Pajama Game. This is, without question, my mostest favorite musical in the world, ever since I saw Steam Heat with Jane Johansen and Tom Knowlton in the Earl Haig production in 197?, after which I was hooked. In fact, my musical Plane Crazy is, in many respects, an homage to The Pajama Game.

Modern day crooner Harry Connick, Jr., is the ususual choice to star in a long-planned and often-delaying Broadway revival of Richard Adler and Jerry Ross' musical, The Pajama Game, the New York Times reported Jan. 8.

The show will be directed and choreographed by Kathleen Marshall, whose Wonderful Town is scheduled to close at the the end of this month after a rocky, one-year-plus run. Pajama Game will open in November.

The announcement is something of a surprise. The production was announced some time ago and has repeatedly pushed back its start date, and producer Jeffrey Richards has been silent on the subject, suggesting to many in the theatre community that the project had stalled for good.

Connick, Jr., who enjoyed his peak fame in the late '80s and early '90s, thanks largely to the success of the soundtrack of "When Harry Met Sally," has never starred in a Broadway musical, though he wrote the score to the short-lived musical Thou Shalt Not. He has also taken occasional film roles. He will play the part of Sid. No one has been announced for the female lead.

The Scorpio Entertainment/Richard Frankel Productions group is using a unique venture capital-style approach to fund Broadway musicals that allows very small investors ($5K to $10K) to participate in shows likeHairspray and The Producers.

My husband met with Steve Baruch a couple of weeks ago, and came away very impressed. Mr. Baruch has some great perspective on Broadway today (off-Broadway plays are dead) and on the future (they produced Sound of Music, which bombed in NYC, but is doing boffo business in China...the export market for Broadway is shaping up to be HUGE).

This group is similar to Stage One in the UK, which allows small investors to participate in West End musicals. But, differently from the Frankel group, they are run more as a non-profit. Nonetheless, they have some interesting data on the success and grosses of musicals from the West End (which they say is bigger than Broadway).