Recently in Regional Theatre Category

Damnable Yankees!

Okay, that is the best pun I have heard in a very long time. And "Damn Those Damnable Yankees" is a fabulously funny number in IRON CURTAIN, a hilarious new show with book by Susan DiLallo, music by Stephen Weiner, and lyrics by Peter Mills. I saw IRON CURTAIN (guys, the show deserves a better name!) at First Stage as part of the Village Theatre Originals series -- two weeks of rehearsals and the actors are on book. However, IRON CURTAIN was pretty much blocked and choreographed, so you really got a good feel for the show's potential.

From the Village Theatre website:

"This side-splitting musical comedy takes place during the Cold War era. Meet Yengenyi Onanov and Sergei Schmearnov who work for the Ministry of Musical Persuasion in the Soviet Union. When the Soviets set out to create a great Broadway musical, they decide that they'll need to bring in some real New York writers — by force, if necessary. Enter Howard and Murray, two aspiring musical theatre writers, who have just had another musical rejected and are on the brink of throwing in the towel. Kidnapped, taken to Moscow, and forced to fix what could possibly be the worst musical ever written, these two characters suddenly find themselves working under the gun, literally!"

The book is hilarious with the puns and physical comedy coming fast and furious, and the music and lyrics take full advantage of the brilliant premise. I mean, what is funnier than Russians trying to do musical theatre? And of course, as always, the Village Theatre puts together an A list cast of actors who really deliver the goods. As a writer, it is very satisfying to workshop your material with really good, experienced and talented performers.

Next stop for IRON CURTAIN is the prestigious O'Neill National Musical Theatre Conference in Connecticut in July.

After that? I wouldn't be surprised to see those Reds on the Great White Way!

Note: By Suzy Conn

"You ask my advice about acting? Speak clearly, don't bump into the furniture and if you must have motivation, think of your pay packet on Friday".

-Noel Coward.

I had the best time on Friday night! I went to see A MARVELOUS PARTY: THE NOEL COWARD CELEBRATION at ACT. And even if there hadn't been a free rare beer tasting and free snacks before the show, I'm sure I would have still enjoyed the show as much as I did! However, it was a really nice touch! I think my favorite was an Italian beer from Turin that had Cassis in it! But I digress…

A MARVELOUS PARTY: THE NOEL COWARD CELEBRATION (words and music by Noel Coward of course) was devised by David Ira Goldstein, Carl Danielsen, Anna Lauris, Mark Anders, and Patricia Wilcox. It was directed by David Ira Goldstein and musical directed by Richard Gray, and the ACT production stars Anna Lauris, Mark Anders, Richard Gray, and David Silverman.

Richard Gray directed the AMT show, Northwest Bookshelf 2 for The 5th Avenue Theatre (I had two pieces in that show, LARRY GETS LOST IN SEATTLE, and DAISY THE FIRECOW). I loved working with Rich as a director, and he wrote a bunch of great pieces for that AMT show, so I knew he was also an awesome writer, but I had no idea what a great performer and piano player he was! Is there anything he can't do? His rendition of "A Bar on the Piccola Marina" was incredible!

The whole cast was marvelous. They had great voices, and could really hoof it, but it was more than that. They were really great performers. I know that sounds "obvious", but it's been a long time since I've felt so completely engrossed in a piece, and so completely relaxed watching performers.

From "ACT Backstage"

"We created this new show as a treasure box of our favorite Noel Coward songs - both familiar and some that you probably have never heard before -- infused with the particular musical genius of a supremely talented cast of performers," said Co-creater and Director David Ira Goldstein. "We chose and arranged the material to highlight the many facets of their talents: Mark Anders facility with language and his abundant musical talents; Anna Lauris' outrageously wonderful comic sensibilities and triple threat acting, singing, and dancing abilities; and the extraordinarily versatile talents of David Silverman and Rich Gray"

I've been a fan of Noel Coward a long time, since my mother introduced me to "Mad Dogs and Englishmen Go Out in the Mid Day Sun" when I was little. So I loved Mark Anders brilliant version of that number. Other highlights for me included "A Bar on the Piccola Marina", "The Coconut Girl" medley and "There are Bad Times Just Around the Corner". There are so many extraordinary numbers in the show, all I can say is go out and buy tickets before it closes (July 13)!

Note: By Suzy Conn

Opening night, it's opening night!

I was lucky enough to go to the opening night of MAME at the 5th Avenue Theatre on February 14. Pre-show Valentines Day/Opening Night dinner at the Fairmont Hotel was Dee-licious (get it? Dee Hoty is playing MAME??).

Then off to the theatre for a truly wonderful show. MAME is adapted from the book "Auntie Mame" by Patrick Dennis, with music and lyrics by Jerry Herman and book by Jerome Lawrence and Robert E. Lee.

The story, adapted from the autobiographical novel Auntie Mame by Patrick Dennis , follows the relationship between the orphaned Patrick Dennis (Nick Robinson) and his freewheeling socialite aunt Mame (Dee Hoty). The show is chock full of plot - not only do we see Mame and Patrick's wild and crazy antics when he is a boy, but in the second act Patrick grows up and becomes engaged to an insufferable Connecticut snob. Oh, and did I mention Mame gets married to a southerner (Beauregard Jackson Pickett Burnside played by the fabola Richard White) who falls off an Alp at the beginning of the second act. I love this show!

This fabulous, lavish production, playing until March 2 at the 5th Avenue theatre, has direction and musical staging by David Armstrong, choreography by Dannul Dailey and music direction by David Holcenberg.

What a cast! Dee Hoty is diva-licious as Mame, and the sets, costumes and voices in this production are to die for (hopefully, not by falling off an Alp…). It's so great when a large cast is full of actors who have real chops, and make every line count (Sean G. Griffin as Babcock, Taryn Darr as Gloria Upson, and Karen Skrinde as Sally Cato, just to name a few!)

My two favorite standouts were Kat Ramsburg as Agnes Hooch and Carol Swarbrick as Vera Charles. They are both hilarious scene stealers, and have amazing, engaging voices that fill the theatre.

I think I'll go have another mint julep and put up some Christmas lights!

LES MIS is my youngest daughter's favorite musical and she is currently in the process of memorizing the entire score. When she heard there was going to be a concert version at the Hollywood Bowl she simply said "we're going" and went upstairs to finish memorizing.
 
I've always wanted to go to the Hollywood Bowl. It just sounds so old Hollywood! I'm excited to see who is going to be in this concert -- would it be too much to hope for to have Patti Lupone play Fantine?
 
According to this article in Playbill:
 

Three performances of the epic musical Les Miserables will be presented in concert this summer at the Hollywood Bowl.

Les Misérables in Concert is scheduled to play the famed outdoor venue Aug. 8 and 9 at 8:30 PM and Aug. 10 at 7:30 PM, according to the Bowl's official website. Neither casting nor a creative team has been announced for the production, although the Bowl says, "An all-star cast and the Hollywood Bowl Orchestra will bring you this sweeping story of love, passion and redemption.

Technorati tags: Broadway Musicals Musical Theatre Musical Theater Movie Musicals Theatre Theater American Theatre American Theater New York City The Fabulous Invalid Times Square

I went to opening night of the 5th Avenue Theatre's presentation of WHISTLE DOWN THE WIND which is currently on it first national tour on this side of the pond. WHISTLE DOWN THE WIND was written by Andrew Lloyd Webber (music) and Jim Steinman (lyrics).

We all know who Sir Andrew is (if you don't, stop reading this blog now!), but for you youngsters out there, Jim Steinman is most well-known for his dramatic rock lyrics for Meatloaf (Bat Out of Hell, etc.), and more recently, for Celine Dion. The book was written by Patricia Knop, Gale Edwards and Andrew Lloyd Webber. It was based on the original novel by Mary Haley Bell and the film produced by Richard Attenborough and directed by Bryan Forbes from the screeplay by Keith Waterhouse and Willis Hall. The film starred Hayley Mills. Whew!

I'd heard of this show before, but always got it mixed up with Sondheim's ANYONE CAN WHISTLE! I hadn't a clue as to what it was about --  the title doesn't exactly illuminate what the show is about the way JESUS CHRIST SUPERSTAR or THE PHANTOM OF THE OPERA do!

This production is directed by Bill Kenwright and stars Eric Kunze as "Man" and 16-year old Andrea Ross as "Swallow". (I feel an Austin Powers joke coming on…) Both are absolutely amazing, and actually the whole production has top quality talent. I don't usually like kid performers (too cute) that aren't my own, but I liked all the kids which included a children's choir with local kids.

From the 5th Avenue Theatre Web site:

"Whistle Down the Wind is an uplifting musical about a young Louisiana girl who finds a mysterious stranger and hides him from the townspeople, who are determined to find the escaped felon. The US premiere production partners renowned rock lyricist Jim Steinman (Meatloaf's classic album Bat Out of Hell) and Andrew Lloyd Webber (Cats, Evita and Joseph...) to create a score inspired by the sounds of the American South – blues, gospel, country and rock 'n' roll. Directed and produced by Bill Kenwright, Whistle Down the Wind features award-winning songs including the Boyzone smash hit 'No Matter What.'"

Andrew Lloyd Webber has written one of my most favorite shows ever (JESUS CHRIST SUPERSTAR) and one of my least favorite shows ever (THE PHANTOM OF THE OPERA) so I felt I was bringing a pretty even perspective to the performance.

I quite enjoyed the evening, and Sir Andrew does have a way with a melody that sticks with you. I always enjoy identifying bits of musical motifs that a writer uses in a particular show, that have been used in one of his/her previous shows. Lots of composers do this, and I’m sure I do it too, and Sir Andrew is no exception -- JESUS CHRIST SUPERSTAR uses lots from JOSEPH, and I heard a fair number of tidbits from JESUS CHRIST SUPERSTAR in WHISTLE DOWN THE WIND.
 
I'm intrigued by the story and now want to read the original book. The original novel didn't take place in America -- that was done when they wrote the musical. I just wonder why they didn't change the title as well…