Steve On Broadway (SOB)

Agosto Em Osage

Agosto Em Osage

Can't wait for the North American tour of August: Osage County to get your fix of Tracy Letts' landmark play?

Well, you actually have a couple options, albeit expensive ones.

First, you get on a play bound for Melbourne, Australia, where the Westons and Aikens continue to hold court at the Melbourne Theatre Company through July 4.

In addition to those who already told me that they so the production by the time I posted my story on the opening, several additional Aussie friends have taken my recommendation to see the production and all have raved. They've said:

AWESOME advice...

We saw it last night and were both BLOWN AWAY! Thanks for the tip - Robyn Neven as Violet was MESMERISING!!!

and

Hey Steve.. Just LOVED August: Osage County. It was so electric. Just loved the pace and performances. Especially the Violet role played by our Dame of theatre Robyn Nevin. Have you ever heard of her - she is amazing.

It really was astounding - if I could see plays like that every time I went to the theatre - I would feel as if I was in Heaven!

OMG - cannot wait to see that play again... Amazing...

and

I saw August Osage County in Melbourne last night and I loved it. Easily the greatest night at the theatre I've had this year - if not, for years. It's superb. Robyn Nevin's performance as Violet is transformative and magnetic to watch.

If Australia is too far (these days, it's not nearly as expensive as it had been) and you can speak Portugese, you might consider visiting Lisbon. That's right. There is a production playing right now at the Portugese capital's Teatro Nacional D. Maria II!

Imagine my delight this morning in receiving an e-mail from one of my friends who landed in Lisbon (Lisboa) yesterday. He wrote:

It seems to me that August: Osage County is playing here in Lisbon - we took a picture of the poster for you

West Side Story is here as well - perhaps they will hire Swedes to play the Jets!

The production began June 25 and runs through August 2. The Teatro Nacional's Web site includes the following description of the play (you've got to love this very rough translation from Portugese, a language I do not speak):

All the happy families are identical and all the unfortunate families the Saints to her way. When, in a night, in the rural environment of Oklahoma, the alcoholic patriarch disappears mysterious, the big clan of the Weston unites immediately for consolation of the mother and for will hurry the motive of the disappearance of the father. Seeing forced it confront hidden truths and surprising secrets, the family ends up be involved in an argument with the matriarch Violet, an addicted woman in pharmaceuticals and unstable psychological state, that is found in the environment of this stormy family.

Oh to be able to see how this show translates, quite literally.

This is Steve On Broadway (SOB).

Labels: August Osage County, Australia, Lisbon, Melbourne, Melbourne Theatre Company, Play, Portugal, Robyn Nevin, Touring Production, Tracy Letts

posted by Steve On Broadway (SOB) @ Tuesday, June 30, 2009 2 comments

August: Osage County - And Then They're Gone

August: Osage County - And Then They're Gone

Call it a day of theatrical symmetry.

Exactly two years to the day after Chicago's Steppenwolf Theatre premiered Tracy Letts' Pulitzer Prize and Tony Award-winning August: Osage County at its Downstairs Theatre, the show closed at the Music Box Theatre. Directed by Anna D. Shapiro, the play enjoyed 648 performances on Broadway.

My dear friend Kevin Daly at Theatre Aficianado At Large was there for the closing performance, which had its own surprise before it even began. Kevin looked at the board next to the ticket counter and saw that Rondi Reed was back for the final performance. It wasn't long before he was tweeting about it to let the whole world know.

Meanwhile, back at Steppenwolf's Downstairs Theatre last evening, Bridget Carpenter's Up was enjoying its opening night. This is the latest play to be helmed by Shapiro and it features her husband Ian Barford (the original Little Charles from August: Osage County) in the lead. Other noteworthy alums from August: Osage County were on hand, including Tony winner Deanna Dunagan (the original Violet Weston) and Francis Guinan (the original Charlie Aiken). Both were clearly thrilled to hear that Reed had returned for that final performance. Guinan will return to the Steppenwolf stage in Fake beginning in September.

While dignitaries like Illinois Governor Pat Quinn were on hand to witness the troupe's latest treasure, the symmetry of Steppenwolf's sweet serendipitous Sunday in New York and Chicago rounded out with actor Jon Michael Hill of Lett's Superior Donuts being in the Windy City house. While I can't say whether he'll be part of the transfer to Broadway this fall, I expect great things from this incredible young talent and believe Great White Way audiences will celebrate his name sometime soon.

And once again thanks to Steppenwolf, I'll have bragging rights not unlike those when I was among the first to see August: Osage County nearly two years ago.

This is Steve On Broadway (SOB).

Labels: Anna D Shapiro, August Osage County, Broadway, Chicago, Deanna Dunagan, Francis Guinan, Ian Barford, Jon Michael Hill, Rondi Reed, Steppenwolf, Superior Donuts, Tracy Letts, Up

posted by Steve On Broadway (SOB) @ Monday, June 29, 2009 0 comments

Twelfth Night (The SOB Review)

Twelfth Night (The SOB Review) – Delacorte Theatre, Central Park, New York, New York

**** (out of ****)

Love is in the air, and its breeze that's blowing straight through Central Park is William Shakespeare's Twelfth Night.

It may not have been the playwright who coined that enduring mantra of the stage, “The show must go on.” But just try telling that to the extraordinary ensemble in the current Public Theatre Shakespeare in the Park production of Twelfth Night. The night I saw the show, they demonstrated a level of magnificent moxie even the Bard would surely have appreciated.

Early this decade, I experienced what many William Shakespeare purists believe was the quintessential modern-day mounting of Twelfth Night. In it, one of the great playwright’s most beloved works known for its gender-bending ways was gender-bending itself with recent Tony winner Mark Rylance and fellow (literally) Royal Shakespearean actors portraying all the characters, male and female alike. Purists would say that this was not unlike how the play about mistaken identity and love would have been mounted long before women were ever allowed to take to legitimate stages.

So while I fully expect that some may sniff that Daniel Sullivan’s truly lovely and gorgeous revival breaks virtually no new dramatic turf, I say, who really cares? With its bawdy charms, call this Twelfth Night an impure delight filled with unmitigated thrills.

When you’re blessed to have some of the most revered theatrical royalty of our times on full display, including Raúl Esparza as Orsino, Audra MacDonald as Olivia, Julie White as her attendant, Michael Cumpsty as Malvolio and contemporary theatre’s greatest scene-stealer David Pittu as Feste, is it any wonder that rain or shine, this is a formidable revival with which to be reckoned and revered?

Add to that mix film actress Anne Hathaway’s wondrously mesmerizing turn as Viola, and you’re witnessing a new theatre queen being born. Hathaway doesn’t just acquit herself superbly, she more than proves her Shakespeare mettle with natural grace, and like Esparza and Pittu, she sings divinely as well. Someone needs to figure out how to bring her to a Broadway stage where she belongs.

During my particularly wet performance, I was struck by how unfazed Sullivan’s excellent ensemble seemed to be by the downpour. Indeed, immediately after the first scene of the second act, a rain hold was called. While the showers continued even after the hold was lifted one half hour later, the cast brought home such determined joy, that it was hard not to feel a symbiotic affinity with them for having braved the storm together with you.

Whether skies are clear or cloudy, don’t be deterred from seeing this Twelfth Night. Either way, you’re not likely to come away anything but enthralled and enchanted.

This is Steve On Broadway (SOB).

Labels: Anne Hathaway, Audra McDonald, Daniel Sullivan, David Pittu, Julie White, Play, Raul Esparza, Revival, The SOB Review, Twelfth Night, William Shakespeare

posted by Steve On Broadway (SOB) @ Friday, June 26, 2009 2 comments

Waiting For Godot (The SOB Review)

Waiting For Godot (The SOB Review) – Studio 54, Roundabout, New York, New York

** (out of ****)

Samuel Beckett is an acquired taste. There, I've said it.

I had joked shortly before my performance that I’d been waiting my entire life to see Waiting For Godot. I could have waited a lot longer.


While some may have buzzed ad nauseum about how Anthony Page’s revival may be the best for Beckett’s Waiting For Godot in over 50 years, consider this: more than five long decades have passed since the existential, absurdist play last trod Broadway’s boards.

Make that Broadway boreds.

Maybe it was my decided lack of sleep the night prior to finally seeing this play, but yours truly found himself waiting for just one thing -- that this seemingly interminable play would end. And that was long before the end of Act One.

Sure, there are some terrific performances from a top-shelf cast, lead by Nathan Lane as Estragon and Bill Irwin as Vladimir. In fact, John Glover’s breathtaking turn as the utterly dehumanized and most unfortunate Lucky was among the most haunting portrayals of the last year

But decent performances and present day parallels aside, this was one snooze-inducing revival. And Beckett’s ironic patter about boredom near the close of the first act gave me no encouragement:

ESTRAGON:
In the meantime, nothing happens.
POZZO:
You find it tedious?
ESTRAGON:
Somewhat.
POZZO:
(to Vladimir). And you, Sir?
VLADIMIR:
I've been better entertained.

Yes indeed. Same here. Same here.

This is Steve On Broadway (SOB).

Labels: Anthony Page, Bill Irwin, Broadway, John Glover, Nathan Lane, Play, Revival, Samuel Beckett, The SOB Review, Waiting For Godot

posted by Steve On Broadway (SOB) @ Thursday, June 25, 2009 4 comments

Best Laugh On Broadway (Abridged)

Best Laugh On Broadway (Abridged)

Folks, seriously, if you're not reading Broadway Abridged, you need to start now.

Gil Varod is a genius. He now takes aim at Blithe Spirit via Twitter -- well, as if the show's stars were tweeting. I laughed so hard I started crying.

You can follow Gil Varod on Twitter @DidYouSayGil and Broadway Abridged @BwayAbridged; if you'd like to follow me, I'm @SteveOnBroadway.

Enjoy!

This is Steve On Broadway (SOB).

Labels: Blithe Spirit, Broadway, Broadway Abridged, Gil Varod, Twitter

posted by Steve On Broadway (SOB) @ Wednesday, June 24, 2009 0 comments

Dear Patti LuPone

Dear Patti LuPone

Yesterday, wags including those at The New York Times were all atwitter -- including on Twitter -- that Patti LuPone stopped a show cold during her act at the Orleans in Las Vegas.

Dave Itzkoff at The New York Times Arts Blogs wrote, a bit snarkily:

Just when we were starting to remember Patti LuPone as a luminescent if detail-oriented theater star -- and not, say, the sort of person who brings an entire show to a halt when she catches an audience member snapping photographs of her -- she goes and does it again.

The Las Vegas Sun reports that Ms. LuPone, the two-time Tony Award winner, stopped in midperformance on Sunday night at the Orleans hotel when she saw an audience member using an electronic device.

“What were you doing?” Ms. LuPone asked the audience member, according to The Sun. “I promise not to be mad at you. Just tell me, what were you doing — videoing? Taking photos? Texting? I really want to know.” The fan, wisely, did not respond. Ms. LuPone then threatened to have the fan thrown out if it happened again, before she resumed singing “Don’t Cry for Me, Argentina.”

Ms. LuPone earned an unwanted recording credit earlier this year when audio of her berating an audience member who tried to take pictures of her at a January performance of “Gypsy” was posted on YouTube.

Today, Itzkoff posts a letter from LuPone responding to his piece:

Dear Dave Itzkoff,

Your story about my stopping my concert in Las Vegas on the New York Times ArtsBeat blog was forwarded to me.

I found the tone of your report very snide and feel compelled to write you to ask -- what do expect me, or any performer for that matter, to do?

Do we allow our rights to be violated (photography, filming and audio taping of performances is illegal) or tolerate rudeness by members of the audience who feel they have the right to sit in a dark theater, texting or checking their e-mail while the light from their screens distract both performers and the audience alike? Or, should I stand up for my rights as a performer as well as the audiences I perform for?

And do you think I’m alone in this? Ask any performer on Broadway right now about their level of frustration with this issue. Ask the actor in Hair who recently grabbed a camera out of an audience member’s hand and threw it across the stage. Or ask the two Queens in “Mary Stuart” (Harriet Walter and Janet McTeer) how they react to it.

I find it telling that my story elicited 47 comments from your readers while a few other stories on the blog elicited a handful, with many getting 0 comments. It certainly touched a chord with people, almost all of whom sounded like audience members, who share in my frustration with what threatens to become standard behavior if no one speaks out and takes action against it.

This has been going on in my career for 30 years since I starred in Evita, and, you’re surprised I stop shows now?

Sincerely,
Patti LuPone

As someone who was there for that now fabled penultimate performance of Gypsy, I can tell you that I much prefer an actor who stands up for her rights as a performer and those of the audience by doing exactly what's she's doing.

Thank you, Patti! You and the polite members of your audience deserve better.

This is Steve On Broadway (SOB).

Labels: Gypsy, Patti LuPone, The New York Times, Theatre Etiquette

posted by Steve On Broadway (SOB) @ Tuesday, June 23, 2009 4 comments

Overheard (Mary Stuart Edition)

Overheard (Mary Stuart Edition)

Overheard Sunday afternoon, while finally taking in a performance of the current Broadway revival of Mary Stuart:

"You see, it was a very difficult time in history."

This is Steve On Broadway (SOB).

Labels: Broadway, Mary Stuart, Overheard, Play

posted by Steve On Broadway (SOB) @ Monday, June 22, 2009 1 comments

fracture/mechanics (The SOB Review)

fracture/mechanics (The SOB Review) - Red Tape Theatre, St. Peter's Episcopal Church, Chicago, Illinois

** (out of ****)

Can a twenty-something woman trying to keep up with the boys in boudoir antics, bouncing from bed to bed, do so without any consequences or emotional scars?

In Mallery Avidon's frequently intriguing, yet ultimately frustrating new play fracture/mechanics currently being mounted by Chicago's bold Pavement Group theatre company, the answer appears to be a flat-out "no." Instead, there's a lot of anger and resentment.

Cyd Blakewell offers a particularly stunning turn as the coitus girl interrupted. Blakewell displays a remarkable, nearly manic range, often within a span of mere moments.

What was particularly captivating was the way in which this young woman's sex life was literally spinning out of control. Credit director David Perez for his keen eye on how mine the allegories inherent in her personal discoveries. Thanks to his vision, I actually felt chills running down my spine during the climactic turning point in the story.

Right through that critical moment, Avidon's script remained funny, engaging and wildly unpredictable. But from there, the 11th hour revelation offered a provocative detour that threw the show off balance. With that distraction, I was left pondering what clues I had missed all along. What Avidon's promising play is lacking an important degree of depth and elucidation. Fortunately for the audience, Perez's direction and his fearless ensemble do their best in transcending the material.

This is Steve On Broadway (SOB).

Labels: Chicago, Cyd Blakewell, David Perez, fractured/mechanics, Pavement Group, Play, The SOB Review

posted by Steve On Broadway (SOB) @ Friday, June 19, 2009 0 comments

Down For The County, August House Empties Out

Down For The County, August House Empties Out

Exactly two years to the day after its Pulitzer Prize and Tony Award winning ride began on the Downstairs Stage at Chicago's Steppenwolf Theatre, Tracy Letts' August: Osage County will close at the Music Box Theatre, its second Broadway home.

Back on June 28, 2007, Letts' sprawling, searing masterpiece began previews at its original Windy City home with a sizeable cross-section of talent from the company's estimable ensemble. As an enthusiastic and proud Steppenwolf supporter, I was disappointed to miss the original opening night in July of that year. But after seeing it one August night, I was enthralled as I found myself completely sucked in on one side and blown out the other.

Mind you, I'm blown away more often than not when I attend Steppenwolf's carefully selected plays. It's one of the reasons why I have become such an ardent supporter and fan. But the feeling I had after seeing August: Osage County the first time was something way beyond anything I typically experience. I knew I was witnessing something truly extraordinary and rare in the annals of theatre history.

Of course, by the time I saw it, word had already reached New York and beyond. In my initial review, I summed up by stating:

I've already heard rumor that this Steppenwolf world premiere play is already being touted for consideration by the Pulitzer Prize committee and that a Broadway transfer may be a real possibility. However, my strong recommendation is to do everything you can to see this modern-day, sure-to-be classic with its impeccable current cast.

Little did I realize then that nearly everyone from that original Chicago cast would make their way to New York for the initial Broadway run, which began previews on October 30, 2007. Nor did I realize quite the way they'd take New York by storm, conquering the hearts and minds of theatregoers who hungered for something exciting and new. It mattered little that the running time was nearly three and a half hours because as one of my favorite Steppenwolf friends once told me before I ever saw the work, "This is the fastest three and a half hours you'll ever spend inside a theatre."

Plans for August: Osage County's opening night were scuttled thanks to the stagehands strike in the fall of 2007 (yours truly had been thrilled to be invited to attend as it was to be my first opening night of any Broadway show). Shortly after the strike was settled, opening night performances for a slew of shows was hastily arranged, and just my luck, my work prevented me from attended the rescheduled opening on December 4, 2007, for August. Nevertheless, the play never got lost in the shuffle as it opened to rave reviews.

By now, you know that the accolades didn't stop there. On April 7, 2008, Tracy Letts was honored with a Pulitzer Prize for Drama. Nominations for all the major theatrical awards came shortly thereafter with the Tonys providing the cherry on top. On June 15, 2008, August: Osage County won five Tony Awards for Best Play, Best Actress in a Play (Deanna Dunagan for her bravura performance as Violet Weston), Best Director (Anna D. Shapiro), Best Featured Actress in a Play (Rondi Reed for her stellar turn as Aunt Mattie Fae Aiken) and Best Scenic Design (Todd Rosenthal).

I managed to see August: Osage County three times during its Broadway run -- once at the Imperial Theatre with everyone from the original Main Stem cast except, sadly, Dennis Letts, the playwright's father who was nearing the end of his valiant battle with cancer, and twice at the Music Box, which provided a much more intimate experience for taking in this larger than life drama.

Third time, by the way, was the charm when it came to my attending opening nights. It was a complete joy to be in London last November when most of the cast reassembled for the opening of August: Osage County at the National Theatre.

So while I'm a little melancholy today that the play is closing, it's hard to feel too sad when you consider that it's doing so after 648 remarkable performances -- longer than any other current play on Broadway and the longest run for a play since David Auburn's Pulitzer Prize/Tony-winning Proof enjoyed 917 performances from 2000-2003. It's been an amazing run. I continue to marvel how this work has reconfirmed the theatre world's interest in Steppenwolf and made a star out of Tracy Letts' breathtaking writing.

As one door closes, certainly another one opens. As noted in January, the North American tour of August: Osage County kicks off next month on July 24 in Denver at the lovely Ellie Caulkins Opera House before going on to San Francisco, Los Angeles, Portland, Seattle, Toronto, Hartford, Washington DC, Tempe and Dallas, among many other cities. For a production that originally clicked its heels with a tagline, "There’s No Place Like Home," the tour will really come home to roost when it lands in Oklahoma on January 26, 2010 at the Tulsa PAC - Chapman Music Hall.

Another door that will soon open is for Tracy Letts' latest play, Superior Donuts. I loved this surprisingly tender show when I saw it last summer at Steppenwolf and understand that Letts has been reworking the script and preparing it for its October 1 opening on Broadway.

Perhaps the biggest door of all to open may in fact be for the silver screen incarnation of August: Osage County film. It was confirmed last August that the work would be transformed into a feature film. You have to bet that Hollywood's hottest actors are vying for the opportunity to try on the Weston Family for size.

But something tells me that you haven't heard the last of the original cast of August: Osage County. And with that, I'll just say so long for now.

This is Steve On Broadway (SOB).

Labels: Anna D Shapiro, August Osage County, Chicago, Closing Notices, Deanna Dunagan, Film, London, Play, Rondi Reed, Steppenwolf, Superior Donuts, Todd Rosenthal, Touring Production, Tracy Letts

posted by Steve On Broadway (SOB) @ Thursday, June 18, 2009 4 comments

Sunday In The Museum Next To The Park With George

Sunday In The Museum Next To The Park With George

Regular readers will recall how much I thoroughly enjoyed the stunning 2008 Broadway revival of Stephen Sondheim and James Lapine's Sunday In The Park With George.

The inspiration, of course, for that lovely musical was neo-impressionist painter Georges-Pierre Seurat's pointillistic "Sunday on La Grande Jatte."

Yesterday, during a quick weekend visit to the Windy City, I decided to visit The Art Institute of Chicago, which recently opened a magnificent new Modern Wing. As much as I enjoyed soaking in all the new works, I found myself much more drawn to the museum's extensive Impressionists section, including the works of Gustave Caillebotte, Mary Cassatt, Paul Cézanne, Edgar Degas, Paul Gauguin, Edouard Manet, Claude Monet, Pierre Auguste Renoir, Henri de Toulouse-Lautrec, Vincent van Gogh and Edouard Vuillard.

I stood in awe as I admired all their inspired works. But it was the painting positioned smack dab in the middle of that second floor section that made me stop dead in my tracks. Georges Seurat's "Sunday on La Grande Jatte" (or "big platter") just screams out for closer scrutiny after first witnessing it upon one's entrance on the other side of the room where it's housed. As I moved closer to the immense canvas, it was truly difficult not to conjure up images of Seurat (à la Mandy Patinkin or Daniel Evans) and his painstaking resolution in getting each individual dot perfectly positioned to create the illusion of complete forms.

It must have been at least 15 years since I last laid eyes on that mesmerizing work of art. However, I certainly had not appreciated the discipline or determination that Seurat must have had until now. Fortunately, in the intervening years since last seeing the painting, I saw Sunday In The Park With George, first the original on DVD and then the Broadway revival. So standing there, carefully examining Dot and her hat, I couldn't help but think of the lyric of that song, "Putting It Together" and simply marvel that "art isn't easy."

Thanks to the genius of Sondheim and Lapine, I gained a greater appreciation for just how ingenious Seurat himself was. Talk about the magic of live theatre and its transcendent reach into all aspects of our lives. Even a Sunday afternoon in the museum next to Millennium Park, by George!

This is Steve On Broadway (SOB).

Labels: Art Institute of Chicago, Broadway, Chicago, Georges-Pierre Seurat, James Lapine, Musical, Stephen Sondheim, Sunday In The Park With George, Sunday on La Grande Jatte, Visual Arts

posted by Steve On Broadway (SOB) @ Monday, June 15, 2009 4 comments

Burning Broadway's Boards

Burning Broadway's Boards

Yes, it's still illegal to shout "Fire" in a crowded theatre.

But that won't stop producer Harley Medcalf from mounting his Burn The Floor Ballroom dance spectacular at Broadway's Lyceum Theatre next month for a twelve week limited engagement. Burn The Floor comes hot on the heels of the sudden departure of reasons to be pretty, which posted its closing notice for this Sunday after going home empty-handed from the Tony Awards.

If you're a fan of the popular ABC television program "Dancing With The Stars," chances are you'll enjoy this show, which mixes Ballroom and Latin dancing. The promotion for the show labels it "Ballroom dance with a sexy 21st Century edge."

Choreographed by Anthony van Laast of Mamma Mia! fame, the show has toured around the world, including here in the United States at Las Vegas, Atlantic City and Florida's Busch Gardens.

Medcalf provides the history of Burn The Floor:

The original idea of Burn the Floor came in a burst of color and energy. I was witness to a scintillating display of Ballroom and Latin dancing at Sir Elton John’s 50th birthday celebration at the Hammersmith Palais Ballroom, London in 1997. In the midst of a glamorous costumed evening, Sir Elton, the ultimate host, the party in full swing, 16 young energetic dancers mesmerized the packed room in a 10 minute dance display. For me it was just the spark of an idea then.

I was soon to meet and discover the Ballroom dance world, its people with their intensity, commitment, discipline and work ethic. These ideas would become my inspiration. It was the dancers themselves that provided the real motivation, their good nature, openness and sheer talent combined with a burning passion and love of dance.

Whether or not this burst of energy is enough to light Broadway on fire this summer remains to be seen, but as a fellow theatre blogger quipped to me, "at least it's a tenant for the underused Longacre."

This is Steve On Broadway (SOB).

Labels: Anthony van Laast, Broadway, Burn The Floor, Choreography, Dancing With The Stars, First Word On New Show, Harley Medcalf, Special Theatrical Event

posted by Steve On Broadway (SOB) @ Friday, June 12, 2009 0 comments

Reasons To Close

Reasons To Close

It took less than 24 hours after going home empty-handed at Sunday's Tony Awards, but Neil LaBute's Tony-nominated reasons to be pretty posted its closing notice on Monday. The play, which was produced earlier by Off-Broadway's MCC, will shutter Sunday after just 85 performances on Broadway.

I rather liked this little play and am sorry to see it go. Terry Kinney offered taut direction to Thomas Sadoski, Marin Ireland, Steven Pasquale and Piper Perabo, who were all first rate.

But reasons to be pretty never really caught on with Great White Way audiences as it hovered around the 50% capacity mark. In a week when its Tony nomination should have mattered with the public, its capacity actually dropped last week to just 47.4%.

While an award could have helped it attract more theatregoers, producers pulled the plug seeming to feel that with a lack of major names, it was lost in the flurry of openings this spring.

That alone give me more than enough reasons to be a little sad.

This is Steve On Broadway (SOB).

Labels: Broadway, Closing Notices, Marin Ireland, Neil LaBute, Piper Perabo, Play, Reasons To Be Pretty, Steven Pasquale, Terry Kinney, Thomas Sadoski

posted by Steve On Broadway (SOB) @ Thursday, June 11, 2009 2 comments

Tony Awards 11:03 Number

Labels: Broadway, Liza Minnelli, Marc Shaiman, Neil Patrick Harris, Scott Wittman, Tony Awards

posted by Steve On Broadway (SOB) @ Wednesday, June 10, 2009 2 comments

Tony Recap Redux

Tony Recap Redux

And the award for funniest laugh-out-loud and spot-on recap of Sunday's Tony Awards goes to Gil Varod at Broadway Abridged.

Pure genius.

This is Steve On Broadway (SOB).

Labels: Broadway, Broadway Abridged, Gil Varod, Tony Awards, Tony Recap

posted by Steve On Broadway (SOB) @ Tuesday, June 09, 2009 1 comments

Twittering The Tonys

Twittering The Tonys

By now, you already know that Billy Elliot - The Musical won the most Tonys during last evening's ceremony (click here to view a full list of all of this year's Tony Award winners).

Billy Elliot earned 10 Tonys in all ... or 12 if you count David Alvarez, Trent Kowalik and Kiril Kulish individually for the joint Tony they received as "Best Performance by a Leading Actor in a Musical" -- a topic I'll circle back to shortly.

The evening started out surprisingly enough as Martin Koch (Billy Elliot - The Musical) and Michael Starobin and Tom Kitt (next to normal) were both declared winners in a tie for Best Orchestrations.

But it all ended up seeming so, well, mostly predictable. While I accurately predicted 19 out of 27 categories, I was dead-on in almost every one of the major categories.

The predictabity was OK, not just because I liked most of the shows and performances that won, but also given the wonderfully witty 11:00 number offered up by host Neil Patrick Harris, which only needed a few last-minute changes from Marc Shaiman and Scott Wittman. The only things completely unpredictable were the excrutiatingly painful headbanging poor Bret Michaels endured or the embarrassing mics that seemed to not work more often than they did.

Unlike last year, when I enjoyed the Tony Awards from a great orchestra seat at Radio City Music Hall, I was in the comfort of my own living room offering up my Tony tweets via Twitter. It was a totally unique experience for me, but one that I have to admit enjoying primarily because of the banter with other theatre Twitters.

The only downside was that during the first hour of the televised awards, I hit Twitter's limit on the number of tweets any one individual can post in any given hour. Who knew? I certainly didn't! Fortunately, after being sidelined for over a half hour, I was able to get back on, although I ended up being a bit more judicious in what I posted.

Now, coming back full circle on the awards, the only winner I still can't wrap my head around is giving all three Billys the Tony for Best Performance by a Leading Actor in a Musical. Don't get me wrong, I am sure they are each very talented. Yet, how can the four other nominees who give 8 performances each week compete with three actors who perform 3 times tops per week? And to say that they are all equally worthy? Well that thinking's akin to the way they give away soccer trophies just so no one's feelings will get hurt.

Yes, I know about the bizarre Tony precedents.

In 1960, all of the young actors portraying the von Trapp family children in the original production of The Sound Of Music -- Lauri Peters, Kathy Dunn, Evanna Lien, Mary Susan Locke, Marilyn Rogers, William Snowden , and Joseph Stewart -- were nominated together in the category of Best Featured Actress in a Musical. Wonder if Snowden and Stewart ever fully recovered from that!

This year's Tony winning Best Performance by a Leading Actress Alice Ripley had to share a joint nomination for the same award with Emily Skinner for Side Show back in 1998 simply because they were portraying conjoined twins Violet and Daisy, respectively. I always thought conjoined twins had their own individual personalities.

There used to be a rule that whoever opened in the show was eligible for the Tony. Just ask Frank Dolce, who alternates with Tony nominee David Bologna as Michael in Billy Elliot - The Musical. Same show, different rules apparently apply. Maybe it was their rousing ode to individuality called "Expressing Yourself" that did them in.

I'll get off my soapbox long enough to admit how pleased I was with the rest of the results overall -- in fact, I plan to finally see both Billy Elliot and God Of Carnage on Broadway after having first seen them in London.

I was downright thrilled (sorry David Bologna) when Gregory Jbara -- one of Broadway's nicest actors -- won for his role in Billy Elliot. I got goosebumps when Angela Lansbury earned her fifth acting Tony. And I was giddy with delight that The Norman Conquests rightfully won Best Revival of a Play during prime time where it belonged (although I thought director Matthew Warchus deserved to win for that effort over his other God Of Carnage).

So, dear readers. What did you think of this year's Tony Awards? And how many of the winners did you get right?

This is Steve On Broadway (SOB).

Labels: Alice Ripley, Angela Lansbury, Billy Elliot The Musical, Broadway, David Alvarez, God Of Carnage, Gregory Jbara, Kiril Kulish, The Norman Conquests, Tony Awards, Trent Kowalik, Twitter

posted by Steve On Broadway (SOB) @ Monday, June 08, 2009 2 comments

And The Tony Goes To...

And The Tony Goes To...

Moments ago, the American Theatre Wing and Broadway League's 63rd Annual Tony Awards hosted by Neil Patrick Harris became history!

Billy Elliot - The Musical was the evening's biggest winner, including for Best Musical, but God Of Carnage had a great night among new dramatic works, winning Best Play. And my personal favorite show of the year The Norman Conquests earned Best Revival of a Play ... in prime time! And Hair won Best Revival of a Musical as it should have.


Here are all the nominees and winners:

Best Play
Dividing The Estate - Horton Foote, Author
God Of Carnage - Yasmine Reza, Author **Winner**
reasons to be pretty - Neil LaBute, Author
33 Variations - Moises Kaufman, Author

Best Musical
Billy Elliot - The Musical **Winner**
next to normal
Rock Of Ages
Shrek The Musical

Best Book of a Musical
Billy Elliot - The Musical - Lee Hall **Winner**
next to normal - Brian Yorkey
Shrek The Musical - David Lindsay-Abaire
[title of show] - Hunter Bell

Best Original Score (Music and/or Lyrics) Written for the Theatre
Billy Elliot - The Musical - Music: Elton John, Lyrics: Lee Hall
next to normal - Music: Tom Kitt, Lyrics: Brian Yorkey ** Winner**
9 To 5 -The Musical - Music & Lyrics: Dolly Parton
Shrek The Musical - Music: Jeanine Tesori, Lyrics: David Lindsay-Abaire

Best Revival of a Play
Joe Turner's Come And Gone
Mary Stuart
The Norman Conquests **Winner**
Waiting For Godot

Best Revival of a Musical
Guys And Dolls
Hair **Winner**
Pal Joey
West Side Story

Best Special Theatrical Event
Liza's At The Palace **Winner**
Slava's Snowshow
Soul Of Shaolin
You're Welcome America. A Final Night With George W Bush

Best Performance by a Leading Actor in a Play
Jeff Daniels - God Of Carnage
Raúl Esparza - Speed-The-Plow
James Gandolfini - God Of Carnage
Geoffrey Rush - Exit The King **Winner**
Thomas Sadoski - reasons to be pretty

Best Performance by a Leading Actress in a Play
Hope Davis - God Of Carnage
Jane Fonda - 33 Variations
Marcia Gay Harden - God Of Carnage **Winner**
Janet McTeer - Mary Stuart
Harriet Walter - Mary Stuart

Best Performance by a Leading Actor in a Musical
David Alvarez, Trent Kowalik, and Kiril Kulish - Billy Elliot - The Musical **Winners**
Gavin Creel - Hair
Brian d'Arcy James - Shrek The Musical
Constantine Maroulis - Rock Of Ages
J. Robert Spencer - next to normal

Best Performance by a Leading Actress in a Musical
Stockard Channing - Pal Joey
Sutton Foster - Shrek The Musical
Allison Janney - 9 To 5 - The Musical
Alice Ripley - next to normal **Winner**
Josefina Scaglione - West Side Story

Best Performance by a Featured Actor in a Play
John Glover - Waiting For Godot
Zach Grenier - 33 Variations
Stephen Mangan - The Norman Conquests
Paul Ritter - The Norman Conquests
Roger Robinson - Joe Turner's Come And Gone **Winner**

Best Performance by a Featured Actress in a Play
Hallie Foote - Dividing The Estate
Jessica Hynes - The Norman Conquests
Marin Ireland - reasons to be pretty
Angela Lansbury - Blithe Spirit **Winner**
Amanda Root - The Norman Conquests

Best Performance by a Featured Actor in a Musical
David Bologna - Billy Elliot - The Musical
Gregory Jbara - Billy Elliot - The Musical **Winner**
Marc Kudisch - 9 To 5 - The Musical
Christopher Sieber - Shrek The Musical
Will Swenson - Hair

Best Performance by a Featured Actress in a Musical
Jennifer Damiano - next to normal
Haydn Gwynne - Billy Elliot - The Musical
Karen Olivo - West Side Story **Winner**
Martha Plimpton- Pal Joey
Carole Shelley - Billy Elliot - The Musical

Best Scenic Design of a Musical
Robert Brill - Guys And Dolls
Ian MacNeil - Billy Elliot - The Musical **Winner**
Scott Pask - Pal Joey
Mark Wendland - next to normal

Best Scenic Design of a Play
Dale Ferguson - Exit The King
Rob Howell - The Norman Conquests
Derek McLane - 33 Variations **Winner**
Michael Yeargan - Joe Turner's Come And Gone

Best Costume Design of a Play
Dale Ferguson - Exit The King
Jane Greenwood - Waiting For Godot
Martin Pakledinaz - Blithe Spirit
Anthony Ward - Mary Stuart **Winner**

Best Costume Design of a Musical
Gregory Gale - Rock Of Ages
Nicky Gillibrand - Billy Elliot - The Musical
Tim Hatley - Shrek The Musical **Winner**
Michael McDonald - Hair

Best Lighting Design of a Play
David Hersey - Equus
David Lander - 33 Variations
Brian MacDevitt - Joe Turner's Come And Gone **Winner**
Hugh Vanstone - Mary Stuart

Best Lighting Design of a Musical
Kevin Adams - Hair
Kevin Adams - next to normal
Howell Binkley - West Side Story
Rick Fisher - Billy Elliot - The Musical **Winner**

Best Sound Design of a Play
Paul Arditti - Mary Stuart
Gregory Clarke - Equus **Winner**
Russell Goldsmith - Exit The King
Scott Lehrer and Leon Rothenberg - Joe Turner's Come And Gone

Best Sound Design of a Musical
Acme Sound Partners - Hair
Paul Arditti - Billy Elliot - The Musical **Winner**
Peter Hylenski - Rock Of Ages
Brian Ronan - next to normal

Best Direction of a Play
Phyllida Lloyd - Mary Stuart
Bartlett Sher - Joe Turner's Come And Gone
Matthew Warchus - God Of Carnage **Winner**
Matthew Warchus - The Norman Conquests

Best Direction of a Musical
Stephen Daldry - Billy Elliot - The Musical **Winner**
Michael Greif - next to normal
Kristin Hanggi - Rock Of Ages
Diane Paulus - Hair

Best Choreography
Karole Armitage - Hair
Andy Blankenbuehler - 9 To 5 - The Musical
Peter Darling - Billy Elliot - The Musical **Winner**
Randy Skinner - Irving Berlin's White Christmas

Best Orchestrations
Larry Blank- Irving Berlin's White Christmas
Martin Koch - Billy Elliot - The Musical **TIE Winner**
Michael Starobin and Tom Kitt - next to normal **TIE Winner**
Danny Troob and John Clancy - Shrek The Musical

So, dear readers, are you happy with the results? I'll provide my own perspective on the winners and the overlooked tomorrow.

This is Steve On Broadway (SOB).

Labels: Billy Elliot The Musical, God Of Carnage, Hair, The Norman Conquests, Tony Awards, Tony Nominations

posted by Steve On Broadway (SOB) @ Sunday, June 07, 2009 1 comments

Tony Time 2009

Tony Time 2009

This evening marks the American Theatre Wing's 63rd Annual Tony Awards hosted by Broadway alum Neil Patrick Harris.

Click here for my predictions for who will win the Tonys. Also, check out my live tweets throughout the evening on the right hand side of SOB.

The Tonys are the highest honors bestowed annually upon Broadway plays and musicals. Named for theatre legend Antoinette Perry, the first Tony Awards were held in 1947 at the Waldorf Astoria's Grand Ballroom with 11 awards presented in only 7 categories, along with 8 special awards.

This year, the Tony Award winners will be honored at Radio City Music Hall, where awards will be announced in a 27 categories.

Additionally, special awards will honor Jerry Herman (Lifetime Achievement in Theatre), Signature Theatre of Arlington, Virginia (Regional Theatre Tony Award) , Phyllis Newman (the new Isabelle Stevenson Award saluting Newman's charitable activities) and Shirley Herz (Tony Honors for Excellence in Theatre).

Unlike last year when I actually was in Radio City's audience, I'll be viewing tonight's ceremonies from the comfort of my own living room. Look for my full wrap-up later.

In the meantime, whether you're in Radio City Music Hall, in Times Square or watching on CBS beginning at 8 p.m. EDT tonight, here's hoping you enjoy this year's event.

Here's to all the nominees!

This is Steve On Broadway (SOB).

Labels: Broadway, Tony Awards, Tony Nominations

posted by Steve On Broadway (SOB) @ Sunday, June 07, 2009 0 comments

SOB's 2009 Tony Picks

SOB's 2009 Tony Picks

The American Theatre Wing’s 63rd annual Tony Awards ceremonies honor the best of Broadway's 2008-09 Theatrical Season, so it's time for me to place my wagers on those nominees I believe will actually win, as well as tell you whom I think should win.

Unlike last year when I saw every single nominated show, I pulled back on my theatregoing this year because I actually pay for each and every ticket (there were more shows opening this year vs. last, making this an expensive habit for anyone trying to see everything).

Of the 44 new Broadway shows and revivals that opened on the Great White Way during the 2008-09 Theatrical Season, I saw 28 of them - the number increases to 31 if you count my previous viewings of Billy Elliot - The Musical (2005) and God Of Carnage (2008) in London and White Christmas in St. Paul (2006), and even 32 if you count my earlier Off-Broadway viewing of [title of show](2006).

The productions I never had a chance to see before they closed include Cirque Dreams, A Tale Of Two Cities, A Man For All Seasons, American Buffalo, Dividing The Estate or Soul Of Shaolin. Of the current shows, I most likely will not see Irene's Vow, The Philanthropist, Accent On Youth or, sorry to say, Joe Turner's Come And Gone. But I already have post-Tony Award tickets to see both Mary Stuart and Waiting For Godot.

Here are the nominees and my picks (I'm recusing myself from offering any "should wins" if I have not seen all the shows or performances):

Best Play
Dividing The Estate - Horton Foote, Author
God Of Carnage - Yasmine Reza, Author Will win
reasons to be pretty - Neil LaBute, Author
33 Variations - Moises Kaufman, Author

Best Musical
Billy Elliot - The Musical Will win
next to normal Should win
Rock Of Ages
Shrek The Musical

Best Book of a Musical
Billy Elliot - The Musical - Lee Hall Will win
next to normal - Brian Yorkey
Shrek The Musical - David Lindsay-Abaire
[title of show] - Hunter Bell Should win

Best Original Score (Music and/or Lyrics) Written for the Theatre
Billy Elliot - The Musical - Music: Elton John, Lyrics: Lee Hall Will win / Should win
next to normal - Music: Tom Kitt, Lyrics: Brian Yorkey
9 To 5 -The Musical - Music & Lyrics: Dolly Parton
Shrek The Musical - Music: Jeanine Tesori, Lyrics: David Lindsay-Abaire

Best Revival of a Play
Joe Turner's Come And Gone
Mary Stuart
The Norman Conquests Will win
Waiting For Godot

Best Revival of a Musical
Guys And Dolls
Hair Will win / Should win
Pal Joey
West Side Story

Best Special Theatrical Event
Liza's At The Palace Will win
Slava's Snowshow
Soul Of Shaolin
You're Welcome America. A Final Night With George W Bush

Best Performance by a Leading Actor in a Play
Jeff Daniels - God Of Carnage
Raúl Esparza - Speed-The-Plow
James Gandolfini - God Of Carnage
Geoffrey Rush - Exit The King Will win
Thomas Sadoski - reasons to be pretty

Best Performance by a Leading Actress in a Play
Hope Davis - God Of Carnage
Jane Fonda - 33 Variations
Marcia Gay Harden - God Of Carnage Will win
Janet McTeer - Mary Stuart
Harriet Walter - Mary Stuart

Best Performance by a Leading Actor in a Musical
David Alvarez, Trent Kowalik, and Kiril Kulish - Billy Elliot - The Musical Will win
Gavin Creel - Hair
Brian d'Arcy James - Shrek The Musical
Constantine Maroulis - Rock Of Ages
J. Robert Spencer - next to normal

Best Performance by a Leading Actress in a Musical
Stockard Channing - Pal Joey
Sutton Foster - Shrek The Musical
Allison Janney - 9 To 5 - The Musical
Alice Ripley - next to normal Will win / Should win
Josefina Scaglione - West Side Story

Best Performance by a Featured Actor in a Play
John Glover - Waiting For Godot
Zach Grenier - 33 Variations
Stephen Mangan - The Norman Conquests
Paul Ritter - The Norman Conquests
Roger Robinson - Joe Turner's Come And Gone Will win

Best Performance by a Featured Actress in a Play
Hallie Foote - Dividing The Estate
Jessica Hynes - The Norman Conquests
Marin Ireland - reasons to be pretty
Angela Lansbury - Blithe Spirit Will win
Amanda Root - The Norman Conquests

Best Performance by a Featured Actor in a Musical
David Bologna - Billy Elliot - The Musical
Gregory Jbara - Billy Elliot - The Musical
Marc Kudisch - 9 To 5 - The Musical
Christopher Sieber - Shrek The Musical
Will Swenson - Hair Will win

Best Performance by a Featured Actress in a Musical
Jennifer Damiano - next to normal
Haydn Gwynne - Billy Elliot - The Musical
Karen Olivo - West Side Story Will win
Martha Plimpton- Pal Joey
Carole Shelley - Billy Elliot - The Musical

Best Scenic Design of a Musical
Robert Brill - Guys And Dolls
Ian MacNeil - Billy Elliot - The Musical Will win
Scott Pask - Pal Joey
Mark Wendland - next to normal Should win

Best Scenic Design of a Play
Dale Ferguson - Exit The King
Rob Howell - The Norman Conquests Will win
Derek McLane - 33 Variations
Michael Yeargan - Joe Turner's Come And Gone

Best Costume Design of a Play
Dale Ferguson - Exit The King
Jane Greenwood - Waiting For Godot
Martin Pakledinaz - Blithe Spirit
Anthony Ward - Mary Stuart Will win

Best Costume Design of a Musical
Gregory Gale - Rock Of Ages
Nicky Gillibrand - Billy Elliot - The Musical
Tim Hatley - Shrek The Musical Will win / Should win
Michael McDonald - Hair

Best Lighting Design of a Play
David Hersey - Equus
David Lander - 33 Variations
Brian MacDevitt - Joe Turner's Come And Gone
Hugh Vanstone - Mary Stuart Will win

Best Lighting Design of a Musical
Kevin Adams - Hair Will win / Should win
Kevin Adams - next to normal
Howell Binkley - West Side Story
Rick Fisher - Billy Elliot - The Musical

Best Sound Design of a Play
Paul Arditti - Mary Stuart
Gregory Clarke - Equus
Russell Goldsmith - Exit The King Will win
Scott Lehrer and Leon Rothenberg - Joe Turner's Come And Gone

Best Sound Design of a Musical
Acme Sound Partners - Hair
Paul Arditti - Billy Elliot - The Musical
Peter Hylenski - Rock Of Ages
Brian Ronan - next to normal Will win / Should win

Best Direction of a Play
Phyllida Lloyd - Mary Stuart
Bartlett Sher - Joe Turner's Come And Gone
Matthew Warchus - God Of Carnage
Matthew Warchus - The Norman Conquests Will win

Best Direction of a Musical
Stephen Daldry - Billy Elliot - The Musical Will win
Michael Greif - next to normal
Kristin Hanggi - Rock Of Ages
Diane Paulus - Hair Should win

Best Choreography
Karole Armitage - Hair
Andy Blankenbuehler - 9 To 5 - The Musical
Peter Darling - Billy Elliot - The Musical Will win / Should win
Randy Skinner - Irving Berlin's White Christmas

Best Orchestrations
Larry Blank- Irving Berlin's White Christmas
Martin Koch - Billy Elliot - The Musical Will win / Should win
Michael Starobin and Tom Kitt - next to normal
Danny Troob and John Clancy - Shrek The Musical

So fellow theatregoers, do you agree with these picks? Or do you think I'm terribly misinformed? Either way -- or wherever in between -- I invite you to weigh in.

Finally, don't forget that the Tony Awards begin at 7 p.m. EDT Sunday, June 7, although the live CBS telecast starts at 8 p.m.

This is Steve On Broadway (SOB).

Labels: Best Revival of Plays, Best Revivals of Musicals, Broadway, Musical, Play, Tony Awards, Tony Nominations, Tony Predictions

posted by Steve On Broadway (SOB) @ Saturday, June 06, 2009 0 comments

"What Is With People Who Think They're In Their Own Living Rooms?"

"What Is With People Who Think They're In Their Own Living Rooms?"

Welcome to those readers who are finding Steve On Broadway (SOB) for the very first time after reading this morning's Wall Street Journal story on theatre etiquette (or the seeming complete lack thereof).

Over the last few years, I've written plenty on this trying topic, so here are the links to each of those pieces:

SOB's Theatre Etiquette Part One
SOB's Theatre Etiquette Part Two
SOB's Theatre Etiquette Part Three
SOB's Theatre Etiquette Part Four

If you happen to recall the notorious incident that inflamed Patti LuPone (and was mentioned in the same Wall Street Journal story) earlier this year, well, I was there. Click here for my very own first hand account.

Finally, if you're reading this, chances are you are not part of the problem when it comes to boorish behavior. So thank you for showing courtesy to those around you and remembering that you're part of a larger communal experience. Enjoy the show!

This is Steve On Broadway (SOB).

Labels: Patti LuPone, The Wall Street Journal, Theatre Etiquette

posted by Steve On Broadway (SOB) @ Saturday, June 06, 2009 3 comments

SOB's Best Of 2008-09 Top Ten Of The Year

SOB’s Best Of 2008-09: Top Ten Of The Year

Over the past week, I've offered up my "Best Of" lists for four of the five major stage categories observed by the Tony Awards, including Best Musical Revivals, Best Play Revivals, Best New Musicals and Best New Plays.

Now, before I launch into which Broadway shows would get my Tony vote if I could actually vote and my own prognostications on who will win, here’s how the best of the best rank in my personal countdown of the “10 Best” theatrical productions I saw over the course of the 2008-09 Theatrical Season:

10 - 9 To 5

Venue: Marquis Theatre, New York, New York

Top 10 Worthiness: 9 To 5 wins by being so thoroughly and consistently entertaining. Not only exceedingly fun and funny, but Dolly Parton has delivered one of this season's most melodic scores, with plenty of tunes to keep you humming long after departing the theatre. You'd be hard pressed not to revel in 9 To 5's frivolity.

Exceptional Standout Performances: Allison Janney, Stephanie J. Block and Megan Hilty, as well as Marc Kudisch and Kathy Fitzgerald.

Status: Open-ended run.

SOB Review Rating: ***1/2 (out of ****)


9 - The Cripple Of Inishmaan

Venue: Linda Gross Theater, Atlantic Theater Company, New York, New York

Top 10 Worthiness: Martin McDonagh's The Cripple Of Inishmaan crackled with wit and pathos. With frequent McDonagh collaborator Garry Hynes at the helm, the playwright intrigues with his surprising compassion for humanity.

Exceptional Standout Performances: Excellent ensemble, but special nods to Aaron Monaghan and David Pearce.

Status: Closed after enjoying extended limited run.

SOB Review Rating: ***1/2 (out of ***)


8 - next to normal

Venue: Booth Theatre, New York, New York

Top 10 Worthiness: With a fierce, electrifying direction from Michael Greif, Brian Yorkey and Tom Kitt’s next to normal is nothing if not atypical for Great White Way musical fare. But in tackling mental illness and its continued social stigma head-on, next to normal marks a welcome if downright shocking departure for Broadway.

Exceptional Standout Performances: Alice Ripley, J. Robert Spencer, Aaron Tveit and Jennifer Damiano.

Status: Open-ended run.

SOB Review Rating: ***1/2 (out of ****)

7 - The Visit

Venue: Max Theatre, Signature, Arlington, Virginia

Top 10 Worthiness: John Kander and the late Fred Ebb's spellbinding "new" musical The Visit read like a who's who of the stage, including Terrence McNally with his shrewdly clever book, Ann Reinking for her captivating choreography and fine direction from Frank Galati. Kander & Ebb's score proved a formidible co-star.

Exceptional Standout Performances: Chita Rivera, George Hearn, Jeremy Webb, Mark Jacoby and James Harms.

Status: Closed last summer after limited run. Initially rumored to be New York-bound, but economy seems to have placed those plans on hold.

SOB Review Rating: ***1/2 (out of ****)


6 - Speed-The-Plow

Venue: Ethel Barrymore Theatre, New York, New York

Top 10 Worthiness: When David Mamet's good, he's just about as stimulating and entertaining as any playwright can be. He's the real deal. In Neil Pepe's astounding and absorbing revival of Mamet's gutbusting Speed-The-Plow, this is almost as good as it gets.

Exceptional Standout Performance: Raúl Esparza.

Status: Closed after a tumultuous limited run in which star who shall not be named left show to become "a thermometer."

SOB Review Rating: ***1/2 (out of ****)


5 - Ivanov

Venue: Wyndham's Theatre, London, United Kingdom

Top 10 Worthiness: Michael Grandage's West End revival of Anton Chekhov's Ivanov was so vibrant and alive with pleasure, brimming with dark humor throughout, that I found myself completely rapt with attention. With excellent new adaptation from Tom Stoppard, Ivanov was both entertaining and enlightening, soaring with one of the year's best ensembles on either side of the Atlantic.

Exceptional Standout Performances: Excellent ensemble led by Kenneth Branagh and Gina McKee.

Status: Closed after limited London run. I'm hoping beyond hope that a transfer may be in the works to Broadway, but it may merely be a pipe dream.

SOB Review Rating: **** (out of ****)


4 - Superior Donuts

Venue: Downstairs Theatre, Steppenwolf, Chicago, Illinois

Top 10 Worthiness: Tracy Letts' profoundly moving new play Superior Donuts intelligently combats some urban myths about race and feels genuine, gritty and real, right down to its climactic brawl. There's plenty of humanity and heart to be found deep inside of this thoughtful and entertaining play.

Exceptional Standout Performances: Excellent ensemble led by Michael McKean and Jon Michael Hill.

Status: Initial world premiere run at Steppenwolf closed last summer, but the show has been confirmed for a Broadway bow this fall.

SOB Review Rating: **** (out of ****)


3 - A Little Night Music

Venue: Menier Chocolate Factory, London, United Kingdom

Top 10 Worthiness: There's pure heaven found in Trevor Nunn's gorgeous London revival of A Little Night Music. It enveloped every one of my senses like a welcome salve for these troubled times. Transcending all expectations, only a heart of stone could not be moved by Stephen Sondheim's ravishing score and Hugh Wheeler's über-clever book.

Exceptional Standout Performances: Hannah Waddingham, Maureen Lipman and Gabriel Vick.

Status: Currently enjoying a transferred run in London's West End. Rumored to be heading to Broadway later this year.

SOB Review Rating: **** (out of ****)


2 - Our Town

Venue: Barrow Street Theatre, New York, New York

Top 10 Worthiness: Thornton Wilder’s classic stage drama Our Town has never looked better. Stripped down to its bare essentials by director David Cromer, it's hard to imagine live theatre could get anymore intimate than this. Making the case against living in the past, this mind-blowing production simply can’t be missed.

Status: Limited run scheduled through September 27, 2009.

SOB Review Rating: **** (out of ****)



1 - The Norman Conquests

Venue: The Circle in the Square Theatre, New York, New York

Top 10 Worthiness: Alan Ayckbourn's uproariously hilarious The Norman Conquests cuts with remarkable, exacting precision, but it also slices and dices its six fully-rounded characters in this jujitsu of love. Matthew Warchus' brilliant direction of each installment makes each story accessible and comprehensible in its own right. Yet it's only after seeing all three that all the complex pieces truly come together as an unequivocal masterpiece. This is the best show I've seen all year anywhere.

Exceptional Standout Performances: The entire ensemble: Amelia Bullmore, Jessica Hynes, Stephen Mangan, Ben Miles, Paul Ritter and Amanda Root.

Status: Limited run through July 25, 2009, but don't be surprised if this is extended by popular demand.

SOB Review Rating: **** (out of ****)



What shows would be on your top ten list? Do you think I've completely missed the boat, or would your choices largely mirror mine?

I invite you to join the discussion and post your comments here.

This is Steve On Broadway (SOB).

Labels: 9 To 5, A Little Night Music, Ivanov, Next To Normal, Our Town, SOB's Best of 2008-09, Speed-The-Plow, Superior Donuts, The Cripple Of Inishmaan, The Norman Conquests, The Visit

posted by Steve On Broadway (SOB) @ Friday, June 05, 2009 3 comments