Yesterday afternoon, I touched down at a relatively chilly HEL with the Love Of My Life (LOML) and one of our dearest friends. My LOML and I are still trekking the globe in our continued quest to see Stephen Schwartz's Wicked around the world.
Regular readers know that for my LOML and I, this is "our musical." Some couples have their song, we have our musical. (And only our dearest of dear friends completely understand why this tuner has resonated with us since we first saw it two days after it opened on Broadway nearly 7 years ago.)
By the time this posts, I'll have just experienced the first "non-replicated" production of the musical at Finland's Helsingin Kaupungin Teatteri (Helsinki City Theatre) during a Saturday afternoon matinee (there are no evening performances today). Non-replicated means that this Wicked does not use the original Broadway staging. Instead, it's been conceived with new creative designs under Hans Berndtsson's direction. But glimpse through the official program, and you'll see many familiar elements.
The Helsinki staging marks the fourth language and the sixth nation in which my LOML and I have seen Wicked. What a wonderful journey it's been, particularly in experiencing such different cultures, sights, cuisines and best of all, the people.
Currently, this production of Wicked is selling tickets through December 31, 2010. I'll provide more insights on the show once I return home from this Oz next week.
In keeping with the new Federal Trade Commission (FTC) regulations that unfairly discriminate against bloggers, who are now required by law to disclose when they have received anything of value they might write about, please note that I have received nothing of value in exchange for this post.
I've read it so many times that I was almost beginning to believe it was true: that revivals of David Mamet works have long since become perennial events on Broadway.
Well, it isn't necessarily so.
Sure there was that Tony Award-winning Best Play Revival of Glengarry Glen Ross in 2005. But it wasn't really until the very recent 2008 Broadway revival of Speed-The-Plow that the Mamet machine really swung into gear. And summarily got stuck. Just weeks later, the blink or you'd miss it revival of American Buffalo largely opened to pans. In 2009, a revival of Oleanna opened to more receptive acclaim.
Now comes only the fifth Mamet revival of the last decade.
Frequent Mamet collaborator Neil Pepe is set to direct A Life in the Theatre with Patrick Stewart and T. R. Knight star as Robert and John, respectively -- two stage actors in a power struggle. Stewart is no stranger to the play, having performed as Robert on the West End opposite Joshua Jackson in 2005.
Although it has seen life in London and Off-Broadway, A Life In The Theatre has never before been mounted on Broadway. Until now. The official Web site describes the 33 year old play as follows:
A Life In The Theatre will be making its Broadway premiere. The play made its world premiere at The Goodman Theatre in Chicago in February of 1977 with Mike Nussbaum and Joe Mantegna and was directed by Gregory Mosher. The play opened off-Broadway on October 20, 1977 at the Lucille Lortel Theatre and ran for 288 performances. That production was directed by Gerald Gutierrez and starred Peter Evans and Ellis Rabb.
Describing life in the footlights from an actor’s point of view, A Life In The Theatre focuses on the relationship between two thespians: Robert, an older, experienced performer; and John, a relative newcomer. Though Robert’s guidance is welcomed by John at first, as the play progresses Robert falters as an actor and mentor, and John emerges as a mature actor. Mamet was inspired to write A Life In The Theatre by what he had observed backstage as well as by his own experiences in his early career as an actor.
Stewart, of course, is one of the foremost actors on either side of the Atlantic, and his participation alone would be enough to entice me to see A Life In The Theatre. But having witnessed Knight's impressive acting range on stage as both an amazing Amadeus Mozart in Amadeus and as Tim in Noises Off! -- both before he ever became known to television audiences as Dr. George O'Malley -- I can honestly say that I'm every bit as anxious to see him perform as I am his co-star.
Previews begin at Broadway's Gerald Schoenfeld Theatre on September 21, with opening night set for October 12, 2010. The limited run will conclude on January 2, 2011.
In keeping with the new Federal Trade Commission (FTC) regulations that unfairly discriminate against bloggers, who are now required by law to disclose when they have received anything of value they might write about, please note that I have received nothing of value in exchange for this post.
For the complete list of Broadway shows confirmed for this season, please click here. For shows that have been announced, but not fully confirmed with venues and/or dates, click here.
In keeping with the new Federal Trade Commission (FTC) regulations that unfairly discriminate against bloggers, who are now required by law to disclose when they have received anything of value they might write about, please note that I have received nothing of value in exchange for this post.
Arguably one of Broadway's most anticipated new shows may have already withered before ever making it to the United States.
Make no mistake. Love Never Dies-- Andrew Lloyd Webber's $15 million sequel to The Phantom Of The Opera that transports the action from Paris' Opera House to New York's Coney Island -- is still playing at London's Adelphi Theatre. But now reports are suggesting that the show won't make it to Broadway this season, if ever.
The musical sequel opened to largely negative reviews in London earlier this year. After seeing the show for myself in May, I concluded that it needed an immense amount of work if it was ever going to last even a fraction of the twenty-plus years that Phantom has been around. And indeed, it's been my understanding the performance West End audiences are seeing today is different than the one I saw just months ago.
But apparently that's not enough.
Previews were slated to begin for an open-ended run in April 2011, but all of that has now been called into question since director Jack O'Brien and choreographer Jerry Mitchell have reportedly bailed so they may concentrate on a more sure-fire hit: Catch Me If You Can.
The New York Post's Michael Riedel goes one step farther to say that although his sources have said the show is postponed "indefinitely," he says, "The $15 million London production, which was directed by Broadway vets Jack O'Brien and Jerry Mitchell, will not be seen in New York. Ever."
Thus, I have pulled Love Never Dies from my confirmed list of shows scheduled for the 2010-11 Theatrical Season and have placed it on my "Definitely Maybe" list. Until we hear for certain that Andrew Lloyd Webber's sequel is truly a non-starter for this season, it will languish like several other improbable shows on that list.
P.S. I must place a large SPOILER ALERT on the second comment below. If you don't want to know the plot, read no further.
In keeping with the new Federal Trade Commission (FTC) regulations that unfairly discriminate against bloggers, who are now required by law to disclose when they have received anything of value they might write about, please note that I have received nothing of value in exchange for this post.
Directed by Alex Timbers and written by Reubens and Bill Steinkellner, The Pee-Wee Herman Show comes to Broadway's newly renamed Stephen Sondheim Theatre for a very limited engagement that begins previews October 26 opens November 11 and closes on December 5.
If you're as big a fan of his long-gone television show as I am, you'll be thrilled to know that Reubens has reteamed with such "Pee-Wee's Playhouse" stalwarts as Lynne Marie Stewart (Miss Yvonne), John Paragon (Jambi the genie) and John Moody (Mailman Mike).
Reubens' celebrated West Coast helped pave the way for this Great White Way run, and it provides the actor with a high-profile opportunity to finally put his career-threatening scandal forever behind him.
Looking forward to catching his comedic genius at play? I know I am, but what are you?
In keeping with the new Federal Trade Commission (FTC) regulations that unfairly discriminate against bloggers, who are now required by law to disclose when they have received anything of value they might write about, please note that I have received nothing of value in exchange for this post.
In what appears to be a growing -- and in my opinion, welcome -- trend among London shows, the West End revival of La Bête is offering a promotional trailer (see below).
While La Bête (or "The Beast") is set to play its final performance at the West End's Comedy Theatre this coming Saturday, the entire production will cross the pond in time for Broadway previews to begin September 23. The transfer will open at the Music Box Theatre on October 14, 2010.
As the official ticket vendor for the production, Telecharge touts La Bête as follows:
Every Broadway season, there is one ticket that you simply have to get. This season, that ticket is La Bête. Coming direct from a sold-out run in London, La Bête is already being hailed as an absolute must-see, with a once-in-a-lifetime cast giving performances to die for. Don’t miss this comic tour de force that boldly sinks its teeth into the debate over high art versus popular entertainment, and asks the age-old question, "For a play to sell out, does it have to be 'a sell-out?'"
Can Warchus' magic strike twice in turning a less than successful play into a true must-see? With Rylance once again serving as Warchus' ace-in-the-hole, all bets suggests he can.
In keeping with the new Federal Trade Commission (FTC) regulations that unfairly discriminate against bloggers, who are now required by law to disclose when they have received anything of value they might write about, please note that I have received nothing of value in exchange for this post.
Broadway Box Office Tweets - Week Ending August 29, 2010
If you follow me on Twitter, you'll know that each Monday, I ordinarily offer my quick analysis of each preceding week's box office on Broadway. Forgive me for being tardy in posting these until today.
3:45 pm August 30 - August doldrums? Broadway box office dipped by 6.86% last week (over $1 million) to $16,139,305
3:47 pm August 30 - Broadway capacity down 3.65% last week to 78.53%, selling 183,587 out of 233,784 seats possible
3:48 pm August 30 - Broadway's average ticket price last week was just $84.97, down from $85.70 the week before
3:49 pm August 30 - WICKED, THE LION KING, JERSEY BOYS & BILLY ELLIOT were only Broadway shows to gross over $1 million last week
3:50 pm August 30 - WICKED was only Broadway show last week to completely sell-out. Capacity at 100%
3:51 pm August 30 - Sold-out WICKED was Broadway's top grossing show last week again taking in $1,664,108. Average ticket price: $114.99
3:52 pm August 30 - THE LION KING was 2nd on Broadway last week, grossing $1,546,227 on 96.6% capacity. Highest av tix priced $119.28
3:53 pm August 30 - In down week, WICKED capacity held steady, while LITTLE NIGHT MUSIC, JERSEY BOYS, PROMISES PROMISES increased capacity
3:54 pm August 30 - NEXT TO NORMAL had bottom 2 out of 3. Lowest gross $285,421/lowest average ticket price $59.12. Capacity still at 78.2%
3:55 pm August 30 - Last week's lowest capacity on Broadway: MILLION DOLLAR QUARTET at 55.5%. Grosses $437,005 w/average tix priced $81.06
3:56 pm August 30 - "Must-see" A LITTLE NIGHT MUSIC enjoys largest capacity increase: 5.9% to94.6%. Grosses $596,663. Av tix priced $84.69
3:58 pm August 30 - ADDAMS FAMILY has week's steepest capacity decline: 14.9% to 70.8%. Grosses $764,231. Must be vacation time?
4:00 pm August 30 - AMERICAN IDIOT loses substantial capacity, dropping 7.6% to 56.5%. Grosses $610,478 w/ average ticket price $79.03
4:01 pm August 30 - No spark from now ailing Jordin Sparks as IN THE HEIGHTS loses 8.2% capacity to 70.5%. Grosses $555,905 Sunday refunds?
4:02 pm August 30 - That explains perfectly why ADDAMS FAMILY box office dipped so much last week: RT @HESherman Apparently Nathan was out of ADDAMS last week.
Feel free to comment and let me know if you're surprised by any of these results.
In keeping with the new Federal Trade Commission (FTC) regulations that unfairly discriminate against bloggers, who are now required by law to disclose when they have received anything of value they might write about, please note that I have received nothing of value in exchange for this post.
On Thursday, August 26, the very first non-replicated production of Stephen Schwartz's global phenom Wicked premiered at Finland's Helsingin Kaupungin Teatteri (Helsinki City Theatre). After nearly seven years of sold-out or nearly sold-out performances on Broadway, Wicked remains the number one grossing show on the Great White Way.
"Non-replicated" means that this Wicked is not bound by the original Broadway staging and is being conceived with entirely fresh creative designs under Hans Berndtsson's direction.
But fear not, die-hard Wicked fans, because although Schwartz's score and Winnie Holzman's book have been translated into the Finnish language, they are the two elements that remain essentially intact.
For production stills, along with an approximate English translation, as well as initial audience reaction in Helsinki, please go here.
This production allow audiences to see an actress portraying Dorothy for the very first time. But of course, the real stars of Wicked are Maria Ylipää as Elphaba opposite Anna-Maija Tuokko as Glinda. Other cast members include Ursula Salo (Madame Morrible), Tuukka Leppänen (Fiyero), Eero Saarinen (the Wizard), Antti Lang (Boq), Vuokko Hovatta (Nessarose) and Heikki Sankari (Doctor Dillamond).
Currently, this production of Wicked is selling tickets through December 31, 2010. I'll be in the audience this coming Saturday with a full report to come shortly after.
In keeping with the new Federal Trade Commission (FTC) regulations that unfairly discriminate against bloggers, who are now required by law to disclose when they have received anything of value they might write about, please note that I have received nothing of value in exchange for this post.
On Thursday, I wrote about some of the extraordinary replacements I've had the pleasure of seeing on Broadway, including those who have superseded the original cast members.
But I concluded my post by discussing August: Osage County and the superlative performances offered by both Deanna Dunagan and Rondi Reed. I noted how no other actresses I've personally had the pleasure of seeing in the roles the Dunagan and Reed created could surpass the originals.
It's at that point that I'd like to pick up.
Back in the summer of 2009, immediately after I first wrote how Australia's Sydney Theatre Company (STC) would import August: Osage Countyfor audiences Down Under, I heard from more than one Aussie friend about their deep-seeded resentment toward the STC. They were angry that the STC would dare to overlook the 2009 mounting offered by the Melbourne Theatre Company (the first production of Tracy Letts' excellent play to be mounted in Australia) or at least produce its own version using Australian actors and crew.
To those friends, I countered, "Regardless of where the production originated, wouldn't you prefer -- or at least be curious to see -- the actors for whom the playwright originally envisioned the roles performing the work?" I can certainly appreciate the legitimate desire to keep Australian actors working, but it is a rare opportunity to see most of the original cast perform, isn't it? Isn't there something innately magical about experiencing a production as originally intended, replete with nuances that subsequent productions inherently fail to replicate? If I had the opportunity to go back in time to see any Broadway show with its original cast, I'd relish the chance.
So, dear readers, if you had your chance to go back in time to see the first production of any theatrical work with its original cast, what would it be?
In keeping with the new Federal Trade Commission (FTC) regulations that unfairly discriminate against bloggers, who are now required by law to disclose when they have received anything of value they might write about, please note that I have received nothing of value in exchange for this post.
As someone who has been involved in both politics and public relations, it's no wonder I love watching theatre. Good or bad, it's the raw energy of seeing a live performance that gets my adrenaline pumping. From the moment I saw my very first Broadway show ("Annie" in London in 1979), I was hooked. Now I see as many as 70 shows each year ranging from soaring musicals to two-hander plays. And these eyes just may be in an audience near you!
Wicked Greetings From HEL!
