SOB's Favorite Shows Of The Noughties: #1 - August: Osage County (2007, Downstairs Theatre, Steppenwolf, Chicago, IL/2008, Imperial Theatre, New York City, NY/2008, Music Box Theatre, New York City, NY/2008, Lyttelton Theatre, National Theatre, London, United Kingdom)
Introduction: Hard as it is to comprehend that we're already 119 months into this "new" millennium, we are fast approaching the end of its first decade. While we have yet to agree on what exactly we should call the '00s, I'll take a cue from the fine folks at The Times of London and the BBC and henceforth refer to them at the Noughties. With that small introduction, I'm pleased to present my list of plays and musicals that wowed me the most during that time. Out of the hundreds and hundreds of shows I've seen over the last ten years, I give you my countdown of my 25 personal favorite shows of the Noughties. Was there any doubt that
August: Osage County would ranks as my favorite show of the decade?
Since
first being blown away in the Windy City by
Tracy Letts' Pulitzer Prize-winning masterpiece back in (appropriately enough) August 2007, I've devoted considerable space to the best-written, best-acted play I've ever seen at Chicago's
Steppenwolf, and that's no small feat.
In
August: Osage County, Letts has constructed an absolutely brilliant, riotous script that provided for one stellar performance after another by its excellent ensemble. During its acclaimed Broadway run, the play ran even deeper, packing a more lethal, visceral punch than what I saw in Chicago, hitting even harder with greater precision that I would not have even thought possible. Credit
Anna D. Shapiro for sharpening this play into a razor-sharp, whip-smart American classic. It was even funnier, too.
In London, it took on additional shadings for me as an indictment on American society for the many grievances that came to roost as our economy went over a cliff.
Deanna Dunagan (Violet) delivered a bravura performance for the ages as the matriarch of the Weston clan. But she was matched by an equally stunning ensemble, with
Amy Morton giving as good as she got, and even better, as Violet's daughter Barbara;
Rondi Reed's Mattie Fae was likely to remind you of your favorite, if she wasn't so crazy, aunt; and
Francis Guinan as Mattie Fae's long-suffering husband Charlie offered a sweet dignity to the proceedings, especially when tempered by one of the play's many revelations exposing the startling truth about his own son.
Since first seeing the show in Chicago, I've known that I had witnessed something very, very special in the world of live theatre. Upon considerable reflection, I can attest that this is the best new theatrical work I've seen over the last ten years. It most certainly was almost my personal favorite of the decade.
This is Steve On Broadway (SOB).
In keeping with the new 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 paid my own way for each of these performances.Labels: Amy Morton, Anna D Shapiro, August Osage County, Broadway, Chicago, Deanna Dunagan, Francis Guinan, Rondi Reed, SOB's Favorite Shows Of The Noughties, Steppenwolf, Tracy Letts
SOB's Favorite Shows Of The Noughties: #2 - The Norman Conquests (2004, Circle in the Square Theatre, New York City, NY)
Introduction: Hard as it is to comprehend that we're already 119 months into this "new" millennium, we are fast approaching the end of its first decade. While we have yet to agree on what exactly we should call the '00s, I'll take a cue from the fine folks at The Times of London and the BBC and henceforth refer to them at the Noughties. With that small introduction, I'm pleased to present my list of plays and musicals that wowed me the most during that time. Out of the hundreds and hundreds of shows I've seen over the last ten years, I give you my countdown of my 25 personal favorite shows of the Noughties. Alan Ayckbourn's uproariously hilarious
The Norman Conquests cut with remarkable, exacting precision, but it also sliced and diced its six fully-rounded characters in this jujitsu of love.
Just when you thought you had the first portion of this trilogy figured out, one intriguing layer after another was carefully stripped away to reveal more of Ayckbourn's intricately woven story. Each character's motives were eventually cut to the core. And they weren't necessarily what they seemed.
Matthew Warchus' brilliant direction of each installment --
Table Manners,
Living Together and
Round And Round The Garden -- made each story accessible and comprehensible in its own right. Yet it's only after seeing all three marathon-style that all the complex pieces truly came together as an unequivocal masterpiece.
Rising to the challenge of Ayckbourn's pure genius, Warchus helmed an excellent cast offering a breathtaking master class in nuanced ensemble acting. Each actor so fully inhabits his or her character that their exceptional use of body language was amplified just as effortlessly as their voices, which was critically important given that this show was in the round.
Not only did I find myself on the edge of my seat, but miraculously, I found myself never wanting it to end. Every bit bit as funny as it was sublime,
The Norman Conquests was the best revival I've seen on Broadway or anywhere else over the last decade.
This is Steve On Broadway (SOB).
In keeping with the new 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 paid my own way for the three performances that comprise The Norman Conquests.Labels: Alan Ayckbourn, Matthew Warchus, Play, Revival, SOB's Favorite Shows Of The Noughties, The Norman Conquests
SOB's Favorite Shows Of The Noughties: Fifty Through ThreeIntroduction: Hard as it is to comprehend that we're already 119 months into this "new" millennium, we are fast approaching the end of its first decade. While we have yet to agree on what exactly we should call the '00s, I'll take a cue from the fine folks at The Times of London and the BBC and henceforth refer to them at the Noughties. With that small introduction, I'm pleased to present my list of plays and musicals that wowed me the most during that time. Out of the hundreds and hundreds of shows I've seen over the last ten years, I give you my countdown of my 50 personal favorite shows of the Noughties. 50.
Barry Humphries & Friends: Back With A Vengeance! (Melbourne, Australia)
49.
The Breath Of Life (2002, London, United Kingdom)
48.
Dirty Blonde (2003, San Diego, CA)
47.
An Inspector Calls (2001, London, United Kingdom)
46.
Dirty Rotten Scoundrels (2005, New York City, NY)
45.
Mary Poppins (2004, London, United Kingdom)
44.
The Unmentionables (2006, Chicago, IL)
43.
The Women (2001, New York, NY)
42.
Sonia Flew (2006, Chicago, IL)
41.
One Flew Over The Cuckoo's Nest (2001, New York City, NY)
40.
Sweeney Todd, The Demon Barber of Fleet Street (2006, New York City, NY)
39.
Reeling (2006, Minneapolis, MN)
38.
Ivanov (2008, London, United Kingdom)
37
The Real Thing (2006, Minneapolis, MN)
36.
The Best Man (2000, New York City, NY)
35.
The Full Monty (2009, St. Paul, MN)
34.
The Well-Appointed Room (2006, Chicago, IL)
33.
A Catered Affair (2008, New York City, NY)
32.
A Blameless Life (2005, Chicago, IL)
31.
Brighton Beach Memoirs (2009, New York City, NY)
30.
Hairspray (2002, Seattle, WA/2008, New York City, NY)
29.
The Car Man (2001, St. Paul, MN)
28.
Purple Heart (2002, Chicago, IL)
27.
Into The Woods (2002, New York City, NY)
26.
Hedda Gabler (2006, New York City, NY)
25.
Nine (2003, New York City, NY)
24.
Superior Donuts (2008, Chicago, IL/2009, New York City, NY)
23.
Grey Gardens (2007, New York City, NY)
22.
Twelfth Night (2009, New York City, NY)
21.
My Fair Lady (2001, London, United Kingdom)
20.
Small Tragedy (2003, Minneapolis, MN)
19.
Guys And Dolls (2005, London, United Kingdom)
18.
Long Day's Journey Into Night (2003, New York City, NY)
17.
Ruined (2009, New York City, NY)
16.
The Producers (2002, New York City, NY)
15.
Evita (2007, London, United Kingdom)
14.
The Beatles Love (2007, Las Vegas, NV)
13.
Passing Strange (2008, New York City, NY)
12.
Dreamgirls (2007, Atlanta, GA)
11.
Theatre Of The New Ear (2005, Los Angeles, CA)
10.
A Little Night Music (2008, London, United Kingdom)
9.
Wicked (2003, New York City, NY)
8.
La Bohème (2002, New York City, NY)
7.
Gypsy (2008, New York City, NY)
6.
Our Town (2009, New York City, NY)
5.
The Last Five Years (2003, Philadelphia, PA)
4.
Doubt (2005, New York City, NY)
3.
Assassins (2004, New York City, NY)
Tomorrow, I'll reveal my second most favorite show of the past decade, followed on New Year's Eve by my absolute favorite of the past ten years. Any guesses on the top two?!
This is Steve On Broadway (SOB).
In keeping with the new 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 paid my own way for each of these performances.Labels: Broadway, Musicals, Play, SOB's Favorite Shows Of The Noughties
SOB's Favorite Shows Of The Noughties: #3 - Assassins (2004, Studio 54, Roundabout Theatre Company, New York City, NY)
Introduction: Hard as it is to comprehend that we're already 119 months into this "new" millennium, we are fast approaching the end of its first decade. While we have yet to agree on what exactly we should call the '00s, I'll take a cue from the fine folks at The Times of London and the BBC and henceforth refer to them at the Noughties. With that small introduction, I'm pleased to present my list of plays and musicals that wowed me the most during that time. Out of the hundreds and hundreds of shows I've seen over the last ten years, I give you my countdown of my 25 personal favorite shows of the Noughties. If nothing else,
Assassins proved to be definitely ahead of its time. This
Joe Mantello-helmed
Stephen Sondheim revival was nearly sidelined indefinitely as a result of 9/11.
Thankfully, this tour-de-force morality musical on America’s real and would-be assassins really hit the mark, with excellent performances all around. Standouts included Tony-winner
Michael Cerveris (John Wilkes Booth),
Denis O'Hare (Charles J. Guiteau) and
Jeffrey Kuhn (Giuseppe Zangara).
But
Neil Patrick Harris’ harrowing transformation from Balladeer to Lee Harvey Oswald was especially chilling. It's a pity it came and went so quickly. But thankfully, the tuner was recorded for posterity, and my CD is nearly worn out from so much play.
This is Steve On Broadway (SOB).
In keeping with the new 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 paid my own way for this performance.Labels: Assassins, Broadway, Denis O'Hare, Jeffrey Kuhn, Joe Mantello, Michael Cerveris, Musical, Neil Patrick Harris, Revival, SOB's Favorite Shows Of The Noughties, Stephen Sondheim
SOB's Theatrical Firsts Of The Noughties: Seeing Shows In Every Broadway HouseOver the course of the last decade, I’ve been truly fortunate to enjoy a number of enlightening firsts in my personal theatergoing that have only served to increase my deep and abiding love for the art form known as live theatre. What follows is one of my ten favorite experiences of the last ten years.If you are a regular reader of Steve On Broadway, you may recall back in September of this year when I finally made my way to Broadway’s
Majestic Theatre to finally see a performance of
Andrew Lloyd Webber's iconic
The Phantom Of The Opera, the longest running show in the Great White Way’s history. And what a performance to attend as they celebrated the show’s 9,000th performance milestone, albeit one day early.
Of course, my sole reason for attending was to scratch one last Broadway house off my list, and I guess you can say I did it in style since
The Phantom Of The Opera celebrated its 9000th performance the afternoon I went. It came after just over 24 years after taking my first Broadway show at the
Winter Garden Theatre for another Andrew Lloyd Webber hit,
Cats, in 1985.
But about the time in September
I was crowing I had been to every single Broadway theatre, another newly refurbished one was going back online. With its façade being the only remnant from its original theatre, the entirely
new Henry Miller’s was making its Broadway debut with
Bye Bye Birdie as its first occupant. As I try to see every new show that opens, I dutifully made my way to Henry Miller’s in October and this time, for real, I scratched every last legit Broadway house off my list.
P.S. If you're wondering which Broadway venue I've seen the most shows in, that would be the
Booth Theatre, where I've taken in 10 different productions, bookended by two musicals: the 1992 revival of
The Most Happy Fella and the current hit
next to normal.
This is Steve On Broadway (SOB).
In keeping with the new 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 paid my own way for each performance.Labels: Booth Theatre, Broadway, Broadway Venues, Bye Bye Birdie, Henry Miller's Theatre, Majestic Theatre, Next To Normal, The Most Happy Fella, The Phantom Of The Opera
SOB's Favorite Shows Of The Noughties: #4 - Doubt (2005, Walter Kerr Theatre, New York City, NY)
Introduction: Hard as it is to comprehend that we're already 119 months into this "new" millennium, we are fast approaching the end of its first decade. While we have yet to agree on what exactly we should call the '00s, I'll take a cue from the fine folks at The Times of London and the BBC and henceforth refer to them at the Noughties. With that small introduction, I'm pleased to present my list of plays and musicals that wowed me the most during that time. Out of the hundreds and hundreds of shows I've seen over the last ten years, I give you my countdown of my 25 personal favorite shows of the Noughties. Was there ever any
Doubt that
John Patrick Shanley's extraordinary morality play would appear on my favorites list for the last decade?
Brían F. O'Byrne and Tony-winner
Cherry Jones sparred sensationally as Father Flynn and Sister Aloysius in this compelling drama that left us debating, “Did he or didn’t he?” long after our departure from the theatre.
Heather Goldenhersh and
Adriane Lenox, who won a Tony for her ethically-challenged mother, rounded out this excellent cast.
Superbly constructed by Shanley and directed with exacting precision by
Doug Hughes, it wasn’t hard to understand why
Doubt received the 2005 Tony Award for Best Play along with a Pulitzer Prize.
This is Steve On Broadway (SOB).
In keeping with the new 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 paid my own way for this performance.Labels: Adriane Lenox, Brian F. O'Byrne, Broadway, Cherry Jones, Doubt, Doug Hughes, Heather Goldenhersch, John Patrick Shanley, Play, SOB's Favorite Shows Of The Noughties
SOB's Theatrical Firsts Of The Noughties: My Broadway DebutOver the course of the last decade, I’ve been truly fortunate to enjoy a number of enlightening firsts in my personal theatergoing that have only served to increase my deep and abiding love for the art form known as live theatre. What follows is one of my ten favorite experiences of the last ten years.As
I’ve noted here previously, I’ve never had any designs on becoming an actor.
But that didn't stop me from earning my bragging rights earlier this year as I "appeared" being on a Broadway stage during a show in progress, and it was not as part of an onstage audience as shows like
Spring Awakening or
Xanadu employed.
It all began by catching more than a good buzz when my Love Of My Life (LOML) and I took our second row seats for
Diane Paulus' inspired revival of
Hair -- unequivocally Broadway's best musical revival last season.
If you’ve seen this show, you’ll know that the musical threatens to end on a very sobering note. However, at the curtain call, the cast joins together for a reprise of “Let The Sun Shine,” which concludes in an audience empowering moment when everyone in the house is invited onstage to join in the singing and dancing.
My participation in the show had begun even before the curtain call when Tony nominee
Gavin Creel bounded from the stage during the show’s eponymous tune. He perched himself on the armrest of the seat immediately in front of me, took his belt off and looped it around my neck, shimmying it back and forth, much to my amazement.
So when the audience began pouring onto the stage of the
Al Hirschfeld Theatre, how could we refuse the opportunity? My LOML and I leapt onto the stage, sang and danced as best we could. Like so many others, we were so swept up in the moment, we even snuck in a little smooch.
No, you won’t find us listed in any of the show’s credits, but we relished our once-in-a-lifetime opportunity to make our Broadway debut.
This is Steve On Broadway (SOB).
In keeping with the new 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 paid my own way for all performances above.Labels: Al Hirschfeld Theatre, Broadway, Debut, Diane Paulus, Gavin Creel, Hair, Stage
SOB's Favorite Shows Of The Noughties: #5 - The Last Five Years (2003, Philadelphia Theatre Company, Plays & Players Theatre, Philadelphia, PA)
Introduction: Hard as it is to comprehend that we're already 119 months into this "new" millennium, we are fast approaching the end of its first decade. While we have yet to agree on what exactly we should call the '00s, I'll take a cue from the fine folks at The Times of London and the BBC and henceforth refer to them at the Noughties. With that small introduction, I'm pleased to present my list of plays and musicals that wowed me the most during that time. Out of the hundreds and hundreds of shows I've seen over the last ten years, I give you my countdown of my 25 personal favorite shows of the Noughties. The original and Off-Broadway versions of
Jason Robert Brown's ingenious musical
The Last Five Years came and went before I had an opportunity to see them. Yet on a complete lark, I found myself at Philadelphia's intimate
Plays and Players Theatre in early 2003 and fell in love with this captivating two-hander about falling in and out of love.
While vaguely reminiscent of
Stephen Sondheim's underrated
Merrily We Roll Along,
The Last Five Years ups the ante by literally and effortlessly telling the story of lost love backwards
and forwards. Although that might make your head spin, I was dizzy with delight from
Joe Calarco's brilliant direction,
Michael Clark's spellbinding projection design and the remarkable
Nicole van Giesen as Cathy and the wonderful
Wayne Wilcox as her husband Jamie.
Over five years after first swooning to this musical and its intelligent, ravishing score,
The Last Five Years remains one of the best shows I've ever seen.
This is Steve On Broadway (SOB).
In keeping with the new 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 paid my own way for this performance.Labels: Jason Robert Brown, Joe Calarco, Michael Clark, Musical, Nicole Van Giesen, Philadelphia, SOB's Favorite Shows Of The Noughties, The Last Five Years, Wayne Wilcox
Merry Christmas From Cape TownGreetings from one of my five favorite cities on the planet:
Cape Town. The photo is the view from my room at the stylish
Westin Grand Arabella Quays. That is the imposing, yet majestic
Table Mountain in the background.
While this is my second visit to this incredibly beautiful, vibrant and storied city just north of the
Cape of Good Hope at the tip of the African continent, I'm relishing every moment here with the Love Of My Life. In fact, since I'm not only on vacation, but celebrating Christmas as well, I'll keep this post very brief.
If you're among my readers who also observes today's holiday, please accept my warmest personal greetings for a very Merry Christmas. And to all my dear readers, here's wishing you and yours nothing but peace and love.
This is Steve On Broadway (SOB).
Even though I'm away from the United States, in keeping with the new 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 paid my own way for my trip.Labels: Cape Town, Merry Christmas, South Africa, Special Messages
SOB's Favorite Shows Of The Noughties: #6 - Our Town (2009, Barrow Street Theatre, New York City, NY)
Introduction: Hard as it is to comprehend that we're already 119 months into this "new" millennium, we are fast approaching the end of its first decade. While we have yet to agree on what exactly we should call the '00s, I'll take a cue from the fine folks at The Times of London and the BBC and henceforth refer to them at the Noughties. With that small introduction, I'm pleased to present my list of plays and musicals that wowed me the most during that time. Out of the hundreds and hundreds of shows I've seen over the last ten years, I give you my countdown of my 25 personal favorite shows of the Noughties. Think you've seen
Thornton Wilder’s classic stage drama
Our Town enough times to last a lifetime? If so, then it's likely you've never seen this stunning revival.
Our Town has never looked better.
Stripped down to its bare essentials by director
David Cromer, this exquisite mounting that transferred from Chicago to Off-Broadway moves all about the audience with an unforced urgency. It's hard to imagine live theatre could get anymore intimate than this. Wilder’s heartfelt words never seemed truer or more genuine, which is refreshing considering how
Michele Spadaro's deceptively spare stage design gives way to one last breath of real life, which itself ultimately proves a veritable feast for and in all senses.
Making the case against living in the past and savoring every moment of our lives, this mind-blowing production simply can’t be missed. Go see
Our Town, especially now that Cromer is back in the show through January 3.
This is Steve On Broadway (SOB).
In keeping with the new 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 paid my own way for this performances.Labels: David Cromer, Off-Broadway, Our Town, Play, Revival, SOB's Favorite Shows Of The Noughties, Thornton Wilder
SOB's Favorite Shows Of The Noughties: #7 - Gypsy(2008, St. James Theatre, New York City, NY)
Introduction: Hard as it is to comprehend that we're already 119 months into this "new" millennium, we are fast approaching the end of its first decade. While we have yet to agree on what exactly we should call the '00s, I'll take a cue from the fine folks at The Times of London and the BBC and henceforth refer to them at the Noughties. With that small introduction, I'm pleased to present my list of plays and musicals that wowed me the most during that time. Out of the hundreds and hundreds of shows I've seen over the last ten years, I give you my countdown of my 25 personal favorite shows of the Noughties. Gangway world, get off of my superlatives! Suddenly, highfalutin' words like "excellent," "superb" and "top-notch" just didn't seem sufficient enough to adequately describe the unique experience of seeing the incredible
Arthur Laurents-helmed revival of
Gypsy that played Broadway last year.
Never had I enjoyed myself more or been so thoroughly entertained by a Rialto musical experience ...
ever. This was most definitely a performance for the ages. To see it was to witness theatrical history being made (including the penultimate performance of the show earlier this year .... yes,
I was there then, too).
The beauty of this fully-realized Broadway revival was that every breathtaking performance from start to finish matched that offered by the truly astonishing
Patti LuPone, who made her Rose at once sympathetic, conniving, sexy, funny, tragic and repulsive all at the same time. Add to that poignant portrayals -- the stunning metamorphosis of Louise offered by
Laura Benanti in her best performance yet, and the completely credible, quiet dignity in
Boyd Gaines' sympathetic take on Herbie -- and those fortunate enough to see this incarnation saw the classic musical the way it was truly intended to be seen.
This is Steve On Broadway (SOB).
In keeping with the new 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 paid my own way for these performances.Labels: Arthur Laurents, Boyd Gaines, Broadway, Gypsy, Laura Benanti, Musical, Patti LuPone, Revival, SOB's Favorite Shows Of The Noughties
SOB's Favorite Shows Of The Noughties: #8 - La Bohème (2002, Broadway Theatre, New York City, NY)
Introduction: Hard as it is to comprehend that we're already 119 months into this "new" millennium, we are fast approaching the end of its first decade. While we have yet to agree on what exactly we should call the '00s, I'll take a cue from the fine folks at The Times of London and the BBC and henceforth refer to them at the Noughties. With that small introduction, I'm pleased to present my list of plays and musicals that wowed me the most during that time. Out of the hundreds and hundreds of shows I've seen over the last ten years, I give you my countdown of my 25 personal favorite shows of the Noughties. Credit inventive film director
Baz Luhrmann with a spellbinding genius for turning
La Bohème, one of the most enduring of operas, into a thoroughly accessible and excellent Broadway theatrical event, thanks in part to its unobstrusive overtitles.
Not since Dorothy landed in Oz have I witnessed as glorious a transformation from black and white to full blown color as I did during this ravishing production. The ingenious designs from
Catherine Martin,
Angus Strathie and
Nigel Levings popped at the very moment when love burst into full bloom.
The magnificent music from
Giacomo Puccini and libretto from
Giuseppe Giacosa and
Luigi Illica helped make believers out of those previously unitiated by opera and
Rent-heads alike.
This is Steve On Broadway (SOB).
In keeping with the new 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 paid my own way for this performance.
Labels: Baz Luhrmann, Broadway, Catherine Martin, Giacomo Puccini, La Boheme, Opera, Rent, SOB's Favorite Shows Of The Noughties
SOB's Theatrical Firsts Of The Noughties: My First TonysOver the course of the last decade, I’ve been truly fortunate to enjoy a number of enlightening firsts in my personal theatergoing that have only served to increase my deep and abiding love for the art form known as live theatre. What follows is one of my ten favorite experiences of the last ten years.If you’ve ever looked at that little photo of me on the right hand side of this page, you’ll know that my eyes are peeking out from above one of those lovely little awards that
American Theatre Wing' and Broadway League jointly use to honor Broadway’s best each year.
It is an Antoinette Perry or
Tony Award, and I first came face to face with one when my dear friend and exceptional photographer Stephen Mosher offered an impromptu photo shoot as part of a much larger series of images he created with Tony Awards in his custody. After the death of celebrated costume designer Florence Klotz, her Tonys -- including the one I’m holding -- were placed in his care. With Klotz’s Tony for her work on
Pacific Overtures and a few clicks of Stephen’s camera, he helped me live up to the moniker Steve On Broadway.
Attending the Tonys was another story. I’ll never forget the thrill of attending the 2008 ceremony at Radio City Music Hall since it was the year Tracy Letts’
August: Osage County was the major contender among straight plays. Hosted by the wonderful and appropriately funny
Whoopi Goldberg, the Tony experience gave me many insights that I would never have known from watching it at home.
I learned so much, not only about all the behind-the-scenes work that goes into this production, but also just how much
more fun actually being there can be. It's not just seeing the nominees and presenters in person, but the chance to see those amazing performances live on stage yet again, including Patti LuPone’s “Everything’s Coming Up Roses.” It's also the nonstop buzz you feel from the moment you step onto the red carpet right up until you receive your Tony
swag bag upon departure from the Gala.
Among all the new plays,
August: Osage County was the big winner, not only as Best Play, but also for director Anna D. Shapiro, scenic designer Todd Rosenthal and actresses Deanna Dunagan and Rondi Reed. My Love Of My Life (LOML) and I were up on our feet for each of those wins, and curiously, upon a later viewing of a recording of the televised ceremony, we were pleasantly surprised to see us right over the top of Reed’s shoulder offering her our standing ovation just after she had been named Best Featured Actress in a Play.
Among the new musicals, we may have been cheering for
Passing Strange, but our seats were immediately behind the contingent from
In The Heights. So when their wins were announced from the stage, it was hard not to get caught up in the excitement of the moment for them.
While I didn’t enjoy a repeat appearance at this year’s Tony Awards, my LOML and I were absolutely delighted to receive an invitation to attend the
75th Annual Drama League Awards, which honor the best on Broadway as well as off and off-off.
If the Tony Awards are
Broadway's equivalent to the
Academy Awards, then the Drama League Awards are, as
Shrek The Musical star
Christopher Sieber quipped to me, “like the
Golden Globes for theatre!" Sieber, by the way, was one of the
71 nominees for distinguished performance from New York theatre. And so it was with nearly all of the nominees assembled for a wine-filled luncheon on a three-tiered dais that reminded one nominee of a large "
Match Game" set (it looked more to me like a celebrity telethon minus the telephones).
The glory of the Drama League Awards is that while there are all those nominees ranging from the
famous Oscar-
winning stars to the actors who've just experienced their first major breaks Off-Off-Broadway, they all have an equal opportunity to say a few words. And many do it with such a welcome flourish.Despite the fact they were all vying for one award, the sense of community they shared as actors was palpable. It was truly incredible and one of the best celebrations of the theatrical art form I've ever enjoyed.
Just as my LOML and I mingled with the stars at the Tony Awards and the ensuing Tony Gala and
August: Osage County party that followed, we found ourselves in the midst of a galaxy of stars at the Drama League reception immediately prior to the lunch. At one point, we found ourselves surrounded by Angela Lansbury, Cynthia Nixon, Jeremy Irons and the three Billys from
Billy Elliot. With so many actors packed into one tight space, it was no wonder we were asked more than once if we were among the nominees.
Would I go back to the Tony and Drama League Awards? Are you kidding? Absolutely.
This is Steve On Broadway (SOB).
In keeping with the new 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 paid my own way for both awards shows and my friend Stephen Mosher graciously took a photo for me out of the goodness of his own heart.
Labels: August Osage County, Awards, Billy Elliot The Musical, Drama League, Patti LuPone, Rondi Reed, Tony Awards
SOB's Favorite Shows Of The Noughties: #9 - Wicked (2003, George Gershwin Theatre, New York City, NY/2005, Oriental Theatre, Chicago, IL/2006, Orpheum Theatre, Minneapolis, MN/2007, Apollo Victoria Theatre, London, United Kingdom/2007, Palladium Theater, Stuttgart, Germany/2007, Shiki Theatre, Tokyo, Japan/2008, Regent Theatre, Melbourne, Australia/2009, Orpheum Theatre, San Francisco, CA/2009, Civic Center Main Stage, Des Moines, IA)
Introduction: Hard as it is to comprehend that we're already 119 months into this "new" millennium, we are fast approaching the end of its first decade. While we have yet to agree on what exactly we should call the '00s, I'll take a cue from the fine folks at The Times of London and the BBC and henceforth refer to them at the Noughties. With that small introduction, I'm pleased to present my list of plays and musicals that wowed me the most during that time. Out of the hundreds and hundreds of shows I've seen over the last ten years, I give you my countdown of my 25 personal favorite shows of the Noughties. Perhaps it's appropriate that the musical I've seen in nine different venues on four different continents would blow in at number nine on my favorites list.
Wicked may not have scored big with critics, but it certainly did with my Love Of My Life (LOML) and me. And those witches? Well, they're cackling all the way to the bank.
Seeing
Idina Menzel and
Kristin Chenoweth as Elphaba and Glinda, respectively, just two days after
Wicked opened, my LOML and I were both positively charmed by the story that took the beloved classic “
The Wizard Of Oz” and cleverly spun it on its head. While we were completely mesmerized by Chenoweth in such numbers as “Popular” and Menzel in “Defying Gravity,” we have also been wowed by countless other leading ladies taking on these now iconic roles, even they were performing in other languages like German and Japanese.
It's no wonder this captivating show continues to soar with productions spanning the globe. In fact, it's such an audience favorite that
Wicked is now the
twentieth longest running show in Broadway history. Congratulotions, indeed!
This is Steve On Broadway (SOB).
In keeping with the new 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 paid my own way for this performance.
Labels: Broadway, Idina Menzel, Kristen Chenoweth, London, Melbourne, Musical, SOB's Favorite Shows Of The Noughties, Stuttgart, Tokyo, Wicked
SOB's Favorite Shows Of The Noughties: #10 - A Little Night Music
SOB's Favorite Shows Of The Noughties: #10 - A Little Night Music (2008, Menier Chocolate Factory, London, United Kingdom)
Introduction: Hard as it is to comprehend that we're already 119 months into this "new" millennium, we are fast approaching the end of its first decade. While we have yet to agree on what exactly we should call the '00s, I'll take a cue from the fine folks at The Times of London and the BBC and henceforth refer to them at the Noughties. With that small introduction, I'm pleased to present my list of plays and musicals that wowed me the most during that time. Out of the hundreds and hundreds of shows I've seen over the last ten years, I give you my countdown of my 25 personal favorite shows of the Noughties. Wasn't
this rich?! Who would have thought that a show staged in a style so deceptively simple could be so sublime, not to mention utterly romantic. Rich, indeed.
Now, if you're not a romantic at heart, you need not have bothered. But for the rest of us, there was the pure heaven found in
Trevor Nunn's gorgeous revival of
A Little Night Music. It enveloped every one of my senses like a welcome salve for these troubled times. Only a heart of stone could not be moved by
Stephen Sondheim's ravishing score and
Hugh Wheeler's über-clever book.
Thanks to Nunn's deft and gentle touch, this
tale of requited love in turn-of-the-20th-Century Sweden felt timeless, transcending all expectations. It made me feel a twinge in my heart and left a tear in my eye. While I have not yet seen the
current Broadway transfer (I will do so in January), the intimacy of the tiny Menier made this a revival utterly unmissable on both sides of the Atlantic.
This is Steve On Broadway (SOB).
In keeping with the new 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 paid my own way for this performance.Labels: A Little Night Music, Hugh Wheeler, Musical, Revival, SOB's Favorite Shows Of The Noughties, Stephen Sondheim, Trevor Nunn
SOB's Favorite Shows Of The Noughties: #11 - Theater Of The New Ear (2005, Royce Hall, UCLA, Los Angeles, CA)
Introduction: Hard as it is to comprehend that we're already 119 months into this "new" millennium, we are fast approaching the end of its first decade. While we have yet to agree on what exactly we should call the '00s, I'll take a cue from the fine folks at The Times of London and the BBC and henceforth refer to them at the Noughties. With that small introduction, I'm pleased to present my list of plays and musicals that wowed me the most during that time. Out of the hundreds and hundreds of shows I've seen over the last ten years, I give you my countdown of my 25 personal favorite shows of the Noughties. Any filmgoer who has watched in awe (or for the less fortunate, in exasperation) as one of gifted screenwriter
Charlie Kaufman’s twisted movies unfolds -- usually inside-out, upside-down and liberally sprinkled with the surreal -- knows that his captivating storytelling is never dull.
Theater Of The New Ear was all that and more.
With a radio-like production quality, its cast members sat on an unadorned stage reading scripts of two “sound” plays as a Foley artist magically transported the audience beyond the limits of their imaginations. But with a stellar cast that included
Jennifer Jason Leigh and
David Thewlis (together in "Anomalisa"), as well as
Peter Dinklage,
Hope Davis and
Meryl Streep (together in "Hope Leaves The Theater"), it was foolhardy to even attempt diverting one’s eyes from the stage.
Part of the fun is seeing these immensely gifted actors also playing members of the audience, including Davis’ hilarious and self-obsessed Louise, whose ringing cell phone serves as the catalyst for Streep -- as Streep -- to go ballistic in a fashion that would make any regular theatregoer proud. This dizzying, frenetic play left me downright giddy and more than sufficiently underscores why Streep remains the preeminent actress of our times.
This is Steve On Broadway (SOB).
In keeping with the new 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 paid my own way for this performance.Labels: Charlie Kaufman, Hope Davis, Los Angeles, Meryl Streep, Peter Dinklage, Play, SOB's Favorite Shows Of The Noughties, Theater Of The New Ear
SOB's Theatrical Firsts Of The Noughties: My First Blog And Bloggers Meet-UpOver the course of the last decade, I’ve been truly fortunate to enjoy a number of enlightening firsts in my personal theatergoing that have only served to increase my deep and abiding love for the art form known as live theatre. What follows is one of my ten favorite experiences of the last ten years.In April 2006,
I began Steve On Broadway (SOB), not because I work in the theatre, but because I am deeply passionate about it.
While the silence at first was deafening as I wondered who on earth could ever possibly find little old me, let alone
want to, I was surprised as the hits started coming and a dialogue was formed with you, my dear readers, along with a growing contingent of other bloggers who are fellow theatre enthusiasts.
Initially, I had no idea how many of us there were. And to be perfectly honest, I’m still not exactly certain as so many come and go, while others are clearly here for the long haul.
It wasn’t until March 2008 that my dialogue with my fellow bloggers leapt to the next level. Thanks to the coordination of my dear "sister" Esther at
Gratuitous Violins, a blog she created only after I urged her to turn her comments she left on my site into postings she could claim as her own, I finally came face to face with a wide swath of these men and women by virtue of
our first-ever bloggers brunch.
There, I had the opportunity to meet Aaron at
‘kül That Sounds Cool, Alicia at
Things You'll Learn To Love About Me, Chris at
Everything I Know I Learned from Musicals, Jan at
Broadway & Me, Jimmy at
Third Row, Mezzanine, Kari at
lit-wit, Mike at
The Lunar Gemini, Patrick at
Just Shows To Go You and last, but most certainly not least, Sarah at
Adventures in the Endless Pursuit of Entertainment, and it was the beginning of many fine friendships that only continue to grow and flourish.
Ever since that time, I’ve been proud to meet an ever-growing online community of true theatre aficionados. Early this year, one of them, my friend dear Jan of Broadway & Me broached the subject of organizing this coterie of theatre bloggers into something more. She suggested organizing a theatre bloggers association. While it would take producer
Ken Davenport to make Jan’s inspired dream a reality, the fact is there are now 40 theatre bloggers who comprise the
Independent Theatre Bloggers Association (ITBA), and I am very pleased to be a member of this fledgling organization.
Bloggers I've had the distinct pleasure of meeting personally since beginning Steve On Broadway include:
Adventures In The Endless Pursuit Of EntertainmentBroadway AbridgedBroadway & MeConfessions Of A Chicago Theatre AddictDaddycatcher's RealmEverything I Know I Learned From MusicalsFragmentsFrom The LedgeGratuitous ViolinsJust Shows To Go You‘kül That Sounds CoollitwitModern FabulousityOne Producer In The CityPataphysical ScienceStage BuzzStage Left, House RightTapeworthyTheatre Aficionado At LargeThe Broadway Musical BlogThe Clyde Fitch ReportThe Stephen Mosher BlogThe TheatergoerThings You'll Learn To Love About MeThird Row, MezzanineWest End WhingersIt's been such an honor meeting these individuals who reside in such far-flung places as London, Chicago, Providence, Boston, Minneapolis and of course New York City. To have forged some strong friendships with many of them has been icing on the cake.
As the world of social networking continues to evolve, I realized earlier this year that it was time to adapt Steve On Broadway for
Twitter and
Facebook. As someone who had previously scoffed at the notion of using Twitter, I’ve come to depend on it for learning so much of my news. In a very short period of time, I’ve become quite proficient at micro-blogging, and both it and Facebook have enabled me to reach an even greater audience.
If anyone had told me that I would have over 1000 followers or be ranked among the
top 20 "most influential" Broadway tweeters by the end of 2009 or that I would have the
number one Broadway-tagged blog on Facebook or that Steve On Broadway would be
independently ranked as one of the top 15 theatre blogs, I would have wondered what you were smoking. But here we are at the conclusion of 2009, and that’s exactly what has happened, much to my amazement.
If you’ve read
this far, I want you to know how much I appreciate
your having taken the time to read SOB. I thank you for being part of my online audience, which now includes members of the broad theatre communities throughout the United States as well as in such far-flung places ranging from Australia to the United Kingdom.
Just as I am deeply humbled by the friendship so many of you have given to me, just an average theatre fan, I am also grateful for your support. What ostensibly started out as something I did just for my own personal enjoyment has transformed itself into a part of a larger dialogue among like minds.
Thank you for joining me on my theatrical journeys. Here's to many, many more over the next decade.
This is Steve On Broadway (SOB).
In keeping with the new 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. Labels: Blogs, Broadway, Broadway and Me, Facebook, Gratuitous Violins, Twitter
SOB's Favorite Shows Of The Noughties: #12 - Dreamgirls (2007, Fox Theatre, Atlanta, GA)
Introduction: Hard as it is to comprehend that we're already 119 months into this "new" millennium, we are fast approaching the end of its first decade. While we have yet to agree on what exactly we should call the '00s, I'll take a cue from the fine folks at The Times of London and the BBC and henceforth refer to them at the Noughties. With that small introduction, I'm pleased to present my list of plays and musicals that wowed me the most during that time. Out of the hundreds and hundreds of shows I've seen over the last ten years, I give you my countdown of my 25 personal favorite shows of the Noughties. Tempting fate by returning once more to the role that made her a star over a generation ago,
Jennifer Holliday succeeded in proving yet again that she is the quintessential Effie Melody White. In the summer 2007 Atlanta revival of
Dreamgirls, the incomparable Holliday seemed to relish further substantiating that she and Effie are not going to take a backseat to anyone. In a glorious and absolutely thrilling performance, not only did Jennifer Holliday triumphantly reclaim the mantle of Effie Melody White, but she reigned supreme.
While Holliday alone would have made this
Dreamgirls dazzle, she was not alone in providing some truly magical and electrifying performances. In fact, the moment I realized this revival would be otherworldly was at the onset of “Steppin’ To The Bad Side” when the foursome of Curtis Taylor Jr. (
David Jennings), C.C. White (
Destan Owens), James Thunder Early (
Eugene Fleming) and Wayne (
James Harkness) sent the first, palpable jolt of energized lightning ricocheting through the receptive audience, thanks in part due to
Kevyn Morrow’s supercharged choreography.
With an audience already overcome with pure unadulterated excitement, Holliday’s delivery of “And I’m Telling You I’m Not Going” became particularly potent on stage. Somehow, Holliday pulled this incredible outpouring of heartbroken anguish from the deepest, innermost recesses of her very being and spewed it forth in as chilling a show-stopping performance as I have ever seen. For me, seeing this
Dreamgirls was a chance to once again witness one of the greatest live theatrical performances of all time and truly savor it.
This is Steve On Broadway (SOB).
In keeping with the new 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 paid my own way for this performance.Labels: Atlanta, Dreamgirls, Jennifer Holliday, Musical, Revival, SOB's Favorite Shows Of The Noughties
SOB's Theatrical Firsts Of The Noughties: My First Time On A Broadway Stage
Over the course of the last decade, I’ve been truly fortunate to enjoy a number of enlightening firsts in my personal theatergoing that have only served to increase my deep and abiding love for the art form known as live theatre. What follows is one of my ten favorite experiences of the last ten years.Although I have never had any designs on being an actor, I always wondered what the theatre looked like from on stage. If you read
this previous post, you'll know that my first time on the
Gershwin stage was compliments of one of
Wicked’s cast members.
But my first time
ever to set foot on a Broadway stage came about in 2006. Two of my best friends in the entire world happen to be friends with lyricist
Chad Beguelin, whom I met when he was putting the finishing touches on the book and score for his first Rialto effort,
The Wedding Singer.
After the musical debuted on Broadway, we went to see the show at the
Al Hirschfeld Theatre. Chad offered to meet us immediately after the performance. Although the show received mixed reviews,
we all had a great time, which was a bit of a relief as I’m not particularly good at lying about whether I’ve enjoyed a show. Fortunately, I didn’t need to.
So when we met up with Chad, we gave him our thumbs-up. In turn, he gave us a backstage tour, introducing us to the show’s star:
Stephen Lynch, as well as taking us onto the stage itself.
I couldn’t get over how much smaller everything seemed up close and personal. I found myself thinking, “Ah, the magic of theatre.” Perhaps even more thrilling than being backstage was being greeted by the throngs of fans lined up at the stage door. They certainly had no clue who I was, but it was fun seeing them try to guess.
Since then, I’ve been invited backstage at three other Broadway venues.
As
noted earlier, I have been on
Wicked’s stage at the Gershwin.
Additionally, just one year ago as
Harvey Fierstein was reprising his turn as Edna Turnblad in
Hairspray at the
Neil Simon, he personally provided me a rare opportunity to join him backstage. When he escorted us through the stage door into the theatre, little did I know I would be stepping directly onto the Neil Simon stage.
Then, this past summer, one of
Billy Elliot’s Tony winning actors graciously invited us to join him for a wonderful backstage tour in which he divulged many of the shows design secrets. That tour was capped off with an introduction to the musical’s Tony-winning director,
Stephen Daldry.
How many other Broadway stages will I someday find myself on? To be honest, what’s more important to me is cherishing each of my once-in-a-lifetime experiences I've already enjoyed in “treading the boards” of Broadway. Speaking of which, I made an unanticipated return to that Al Hirschfeld stage earlier this year, but that return deserves a post all its own.
This is Steve On Broadway (SOB).
In keeping with the new 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 paid my own way for all performances above.Labels: Al Hirschfeld Theatre, Billy Elliot The Musical, Broadway, Chad Beguelin, Gershwin Theatre, Hairspray, Harvey Fierstein, Imperial Theatre, Neil Simon Theatre, Stephen Daldry, The Wedding Singer, Wicked
Beauty And The Beast (The SOB Review) - Main Hall, Ordway Center For The Performing Arts, St. Paul, Minnesota ***1/2 (out of ****)Certainly, the tale
is as old as time.
By now, even Disney's Oscar-nominated
animated feature may already be showing its years. But I was positively swept away by the
Ordway's stunning new stage revival of
Disney's Beauty And The Beast. It seems like new again.
I had previously seen
Beauty And The Beast on Broadway -- once shortly after it first opened at the
Palace Theatre in 1994 and then again at the
Lunt-Fontanne Theatre a few years before it closed in 2007 when it was really showing its age.
So imagine my surprise and delight in seeing
Robert Johanson's incredibly fresh and fully-realized revival with exceptionally spirited acting (with one glaring exception), boisterous singing and rousing choreography (
Linda Talcott Lee), as well as
Kate Sutton-Johnson's gorgeous set design. Each of these elements popped even more thanks to its incorporation of a massive projection design.
Jeremiah James brings exceptional depth to the role of the Beast, humanizing him with tremendous skill. The comedic triple threat
Jonathan Burgard succeeds in stealing practically every scene by adding real muscle to his Gaston -- why isn't this guy on Broadway? But alas, the wooden
Laurine Price's Belle is out of her element, which is a shame given how essential this Beauty's role is to the story.
Nevertheless, this
Beauty And The Beast offers much for your eyes to behold. And it's perfect holiday entertainment for the entire family.
This is Steve On Broadway (SOB).
Labels: Beauty And The Beast, Disney, Jeremiah James, Jonathan Burgard, Laurine Price, Minneapolis/St. Paul, Musical, Revival, Robert Johanson, The SOB Review
SOB's Favorite Shows Of The Noughties: #13 - Passing Strange (2008, Belasco Theatre, New York City, NY)
Introduction: Hard as it is to comprehend that we're already 119 months into this "new" millennium, we are fast approaching the end of its first decade. While we have yet to agree on what exactly we should call the '00s, I'll take a cue from the fine folks at The Times of London and the BBC and henceforth refer to them at the Noughties. With that small introduction, I'm pleased to present my list of plays and musicals that wowed me the most during that time. Out of the hundreds and hundreds of shows I've seen over the last ten years, I give you my countdown of my 25 personal favorite shows of the Noughties. Last year's absolute best, most cosmic musical was also the most unusual and unexpected, and yet somehow oh so real.
Passing Strange succeeded in taking the Great White Way in an entirely new, infinitely intelligent direction, compliments of a musician named
Stew. This exacting artist took us on a wild trip in quasi-strolling minstrel style, expertly telling the story of his own formative adult years with such humor, passion and grace that I found myself tearing up many times over as chills shot down my spine.
Stew's storytelling alter ego, Youth, was played with awkward charm by
Daniel Breaker, a sensationally expressive new stage star in an astonishing breakthrough role. Breaker was duly honored with a well-deserved Tony nomination.
Often veering toward the existential when it's not reminding you of "The Wizard Of Oz," Stew's ethereal odyssey wasn't as much about saying "there's no place like home" as it was reassuring you that you actually can go home again. I couldn't help but fall head over heels in love with this smoke-hazed tale.
This is Steve On Broadway (SOB).
In keeping with the new 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 paid my own way for this performance.Labels: Broadway, Daniel Breaker, Musical, Passing Strange, SOB's Favorite Shows Of The Noughties, Stew
SOB's Least Favorite Shows Of The Noughties: #1 - Triple Espresso (2008, Music Box Theatre, Minneapolis, MN)
Introduction: Hard as it is to comprehend that we're already 119 months into this "new" millennium, we are fast approaching the end of its first decade. While we have yet to agree on what exactly we should call the '00s, I'll take a cue from the fine folks at The Times of London and the BBC and henceforth refer to them at the Noughties. With that small introduction, I'm not only pleased to present my list of my top 25 favorite plays and musicals of the Noughties, but also a simultaneous countdown of my five least favorite shows out of the hundreds and hundreds of shows I've seen over the last ten years. "Want to see a good show? Then you'll want to avoid
Triple Espresso the way I do
Starbucks,"
I warned nearly two years ago after seeing this buzz-kill.
More a musical revue than a musical,
Triple Espresso had inexplicably been a staple of the Minneapolis theatre scene since opening in the spring of 1997. When I learned the show had set a closing date, I figured I'd try to see what kept the show percolating for so long. While
Triple Espresso dubbed itself "A highly caffeinated comedy," I could have used a little of that high octane stuff to get me through the warmed-over schlock. Simultaneously, it tasted as if it had been on the burner way too long without ever having been fully brewed to begin with.
Triple Espresso revolved around an eponymous comedy trio reuniting after 25 years apart. The closest to "real" fame the three -- Hugh Butternut (Michael Pearce Donley), Bobby Bean (Brian Kelly) and Buzz Maxwell (George Tovar), get it?! -- ever came was in a botched appearance on the 70s "
Mike Douglas" talk show.
Lame attempts to involve the bored audience were exacerbated by largely unfunny schtick borrowed unceasingly from all things the 70s. The only thing I kept wondering was how this show could have been so underdeveloped and yet lasted so long.
Unfortunately,
Triple Espresso was bad to the last drop. No wonder it "earns" the dubious distinction as my least favorite show of the entire decade.
This is Steve On Broadway (SOB).
In keeping with the new 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 paid my own way for this performance.Labels: Minneapolis/St. Paul, Musical, Revue, SOB's Least Favorite Shows Of The Noughties, Triple Espresso
SOB's Favorite Shows Of The Noughties: #14 - The Beatles Love (2007, Love Theatre, Mirage, Las Vegas, NV)
Introduction: Hard as it is to comprehend that we're already 119 months into this "new" millennium, we are fast approaching the end of its first decade. While we have yet to agree on what exactly we should call the '00s, I'll take a cue from the fine folks at The Times of London and the BBC and henceforth refer to them at the Noughties. With that small introduction, I'm pleased to present my list of plays and musicals that wowed me the most during that time. Out of the hundreds and hundreds of shows I've seen over the last ten years, I give you my countdown of my 25 personal favorite shows of the Noughties. What was there not to love about the excellent
The Beatles Love? Talk about a mind-blowing, sensory overload event that more than effectively serves as the ultimate showcase for the catalogue of
The Beatles.
Barely settling down long enough to let you catch your breath, the Fab Four's tunes are magically brought to life, incorporating the themes and emotions behind each one. I was entranced throughout the entire production, but renditions of "Rock And Roll Run," "Help" and "Revolution" certainly epitomize who these four lads from Liverpool were and what they came to represent.
This was by far the best
Cirque du Soleil production I have yet to witness. It's in a class all by itself and serves as the best reason why I wouldn't mind returning to Vegas.
This is Steve On Broadway (SOB).
In keeping with the new 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 paid my own way for this performance.Labels: Cirque du Soleil, Las Vegas, Musical, SOB's Favorite Shows Of The Noughties, The Beatles, The Beatles Love
