I first published the following post on December 13, 2010, as one of my most prominent memories of the previous decade. As today marks the ninth anniversary of the horrific attacks of September 11, 2001, let us never forget neither that dark day nor those whose lives were lost.
Not long after the attacks, Nathan Lane and a troupe of Broadway stars used the classic Kander and Ebb tune to implore the rest of a nervous nation to "Come to New York and let's go on with the show!"
No recollection of the past ten years in theatre could be complete without remembering the horrific events of 9/11.
While I’ll leave it to others to thoroughly discuss what transpired that day, I was struck by how quickly the Broadway community rallied together to truly go on with the show. In the aftermath of 9/11, I was also struck by Mayor Rudy Guliani's message to the rest of the world: “Come to New York and stay in a hotel, do some shopping and see a show.”
I made my pilgrimage to the city in early October. While there were countless reminders of 9/11 to be seen everywhere, particularly through the extensive array of ubiquitous volunteer workers, the city seemed kinder and gentler than I had ever remembered it being. I never felt more welcome as a guest as I did on that visit.
True to the mayor’s prescribed list, I checked into a midtown hotel, did the requisite shopping and made sure I bought tickets to not one, but two Broadway shows. First up was the Tony-winning revival of a quintessential New York classic 42nd Street starring Christine Ebersole.
I loved them both, but what I especially loved was the esprit de corps I felt with my fellow audience members. It was as if we really were in this together.
While our attendance was a mere pittance compared to the selfless efforts of those toiling around the clock at the southern end of Manhattan, there was a shared sense that we were at least doing something in providing a tiny economic shot in the arm to this recovering city. Never before had I felt a sense of community with my fellow theatregoers like I did while seeing those two shows.
Initially, I had no intention of going to Ground Zero on that trip, my New York City friends implored me to go. Their message was simple -- it was important for people to bear witness to what I saw. On the Sunday morning after I had enjoyed The Women, I took the subway as far as I could to Chambers Street and then walked. Nothing could have prepared me for the magnitude of the World Trade Center’s still smoldering ruins. I couldn’t help but break down and cry.
Just as I'll never forget the carnage terrorists wrought on the greatest city on the planet, I'll always remember how everyone seemed to come together for a few brief shining moments in the wake of the attacks. I'll forever cherish those days I spent in New York City to witness it first-hand.
In keeping with the new Federal Trade Commission (FTC) regulations that unfairly discriminate against bloggers, who are now required by law to disclose when they have received anything of value they might write about, please note that I have received nothing of value in exchange for this post.
Effective today, Live Nation has once again sold out with new naming rights for its beleaguered barn of a theatre that was initially opened by convicted producer Garth Drabinksy's Livent, Inc., on January 26, 1998, as the Ford Center for the Performing Arts.
Livent had acquired two theatres, the Lyric and the Apollo, gutting and banging them together with some of their original architectural elements remaining in the "new" 1829 seat theatre that's been created in their place.
In its brief 14 year history as a Broadway venue, the theatre has only housed eight shows, most of them flops and/or produced at a financial loss due to their over-the-top nature. With respect to the latter, an excellent case in point is the venue's original tenant Ragtime. Shortly after it opened in 1998, Livent declared bankruptcy, and SFX Theatrical Group swooped in to take ownership (SFX would ultimately become part of Clear Channel and then Live Nation).
The biggest hit that played the Ford Center for the Performing Arts was 42nd Street, which took home 2001 Tonys for Best Revival of a Musical and Best Actress for Christine Ebersole. The production lasted nearly four years and a total of 1524 performances.
Shortly after 42nd Street closed, Hilton Hotels was granted naming rights (Hilton's Times Square property is directly across the street from the theatre). Only four shows have played in the theatre during that time, and nothing has played there since Young Frankensteinclosed on January 4, 2009.
Of course, the next occupant was already supposed to be playing to record-breaking crowds. And while Spider-Man: Turn Off The Darkhas finally loaded-in with rehearsals about to get into high gear, presumably for a much-delayed fall 2010 opening, the theatre itself has been turned off in darkness for so long, it's probably no wonder that Live Nation was seeking yet another corporate sponsor's name to plaster on the building.
I'm no fan of such naming rights. It cheapens both the landscape and the landmarks themselves.
If I can take hope, it's from one landmark Broadway theatre that had a five year fling with one corporate sponsor. That affair blessedly didn't last. As of 2007, the original Winter Garden name stands alone. Miracles really can still happen on Broadway.
As for the newly minted Foxwoods Theatre, perhaps some of their luck will rub off on what is arguably Broadway's unluckiest venue. I'll bet they're counting on a full house.
This is Steve On Broadway (SOB).
In keeping with the new Federal Trade Commission (FTC) regulations that unfairly discriminate against bloggers, who are now required by law to disclose when they have received anything of value they might write about, please note that I have received nothing of value in exchange for this post.
SOB's Theatrical Firsts Of The Noughties: My First Return To New York After 9/11
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.
No recollection of the past ten years in theatre could be complete without remembering the horrific events of 9/11.
While I’ll leave it to others to thoroughly discuss what transpired that day, I was struck by how quickly the Broadway community rallied together to truly go on with the show. In the aftermath of 9/11, I was also struck by Mayor Rudy Guliani's message to the rest of the world: “Come to New York and stay in a hotel, do some shopping and see a show.”
I made my pilgrimage to the city in early October. While there were countless reminders of 9/11 to be seen everywhere, particularly through the extensive array of ubiquitous volunteer workers, the city seemed kinder and gentler than I had ever remembered it being. I never felt more welcome as a guest as I did on that visit.
True to the mayor’s prescribed list, I checked into a midtown hotel, did the requisite shopping and made sure I bought tickets to not one, but two Broadway shows. First up was the Tony-winning revival of a quintessential New York classic 42nd Street starring Christine Ebersole.
I loved them both, but what I especially loved was the esprit de corps I felt with my fellow audience members. It was as if we really were in this together.
While our attendance was a mere pittance compared to the selfless efforts of those toiling around the clock at the southern end of Manhattan, there was a shared sense that we were at least doing something in providing a tiny economic shot in the arm to this recovering city. Never before had I felt a sense of community with my fellow theatregoers like I did while seeing those two shows.
Initially, I had no intention of going to Ground Zero on that trip, my New York City friends implored me to go. Their message was simple -- it was important for people to bear witness to what I saw. On the Sunday morning after I had enjoyed The Women, I took the subway as far as I could to Chambers Street and then walked. Nothing could have prepared me for the magnitude of the World Trade Center’s still smoldering ruins. I couldn’t help but break down and cry.
Just as I'll never forget the carnage terrorists wrought on the greatest city on the planet, I'll always remember how everyone seemed to come together for a few brief shining moments in the wake of the attacks. I'll forever cherish those days I spent in New York City to witness it first-hand.
This is Steve On Broadway (SOB).
In keeping with the new Federal Trade Commission (FTC) regulations that unfairly discriminate against bloggers, who are now required by law to disclose when they have received anything of value they might write about, please note that I have received nothing of value in exchange for this post. I paid my own way for these performances.
SOB's 7 Singular Sensations Of '07 - #2: Christine Ebersole
Introduction: While others use the end of the year to provide their lists of the top shows of the past year, here at Steve On Broadway (SOB), I wait until the conclusion of the entire Theatrical Season to provide my official tally.
Instead, I'm once again devoting the waning days of the calendar year to celebrate SOB's Singular Sensations -- those magical live performances that have stayed with me throughout the year. During 2007, I have enjoyed, been wowed and ultimately inspired by a dazzling display of excellent performances from some of the theatre world's best actors, singers and dancers of our time.
Like Spring Awakening, the quirky musical Grey Gardensbegan its life Off-Broadway in 2006 before transferring to the Great White Way later in the same year. In the case of Grey Gardens, it was a completely transformed show.
But my first opportunity to see this superb little gem of a show finally came in February. Talk about worth the wait -- I was so transfixed by this musical that it ranked as my favorite show during the entire 2006-07 Theatrical Season.
The primary reason I loved this show so much was due to the two excellent performances that would ultimately be rewarded with a richly deserved Tony Award (make that three when you count the marvelous Mary Louise Wilson). Both were offered by the astonishing Christine Ebersole as she portrayed both Edith and Little Edie Bouvier Beale -- the real-life relatives of former First Lady Jacqueline Bouvier Kennedy Onassis -- whose fall from grace to utter squalor made for the most unlikeliest of Broadway musicals.
Here's what I had to say last February about Ebersole's nuanced performances:
Grey Gardens can hardly be called a “feel good” show. So why did I find myself feeling better than "good" after (finally) taking in a performance of this sublime show?
Two words: Christine Ebersole.
The incredibly talented Ebersole has proven she's at the height of her career. Her virtuoso performance in Grey Gardens is one that I'll never forget.
Mind you, I’m not one to voluntarily stand up and cheer reflexively. Personally, I find that the standing O is grossly overused and should be strictly reserved for only the best of the best. Not only did I leap to my feet upon Ebersole’s curtain call, but I found the extremely rare “bravo” freely coming from my heart and passing through my lips.
In Grey Gardens, Ebersole more than masterfully channels both Edith and Little Edie Bouvier Beales of the funny-if-it-weren’t-so-tragic seventies documentary of the same name. She luminously inhabits mother Edith in act one and then incredibly suspends any disbelief that you are watching anyone but the real Little Edie in the second act. Right before your eyes, a radiant and breathtaking Ebersole becomes Little Edie.
I've now had several opportunities to see Ebersole show her stuff on Broadway -- although I may be one of the few who actually remember her, and quite fondly at that, from her brief stint on "Saturday Night Live" back during the 1981-82 season).
The first time I saw her on stage came in her terrific performance in the superb 2000 revival of Gore Vidal's The Best Man, as well as in her Tony-winning turn as Dorothy Brock in the 2001 revival of 42nd Street. She imbues every role with such style, wit and panache, but Grey Gardens proves she truly is at the height of her distinguished career.
Here's a toast to the Tony-winning singular sensation, Christine Ebersole! May you enjoy every bit as much success and more when your show completes its transfer to London.
Rain: A Tribute To The Beatles Limited run extended through May 31, 2011 (Show will go on hiatus starting January 15 and reopen at Brooks Atkinson Theatre on February 8)
Rock Of Ages - Open-ended run (Show will go on hiatus starting January 9 and reopen at Helen Hayes Theatre in March)
As someone who has been involved in both politics and public relations, it's no wonder I love watching theatre. Good or bad, it's the raw energy of seeing a live performance that gets my adrenaline pumping. From the moment I saw my very first Broadway show ("Annie" in London in 1979), I was hooked. Now I see as many as 70 shows each year ranging from soaring musicals to two-hander plays. And these eyes just may be in an audience near you!
True to the mayor’s prescribed list, I checked into a midtown hotel, did the requisite shopping and made sure I bought tickets to not one, but two Broadway shows. First up was the Tony-winning revival of a quintessential New York classic 42nd Street starring Christine Ebersole.
While our attendance was a mere pittance compared to the selfless efforts of those toiling around the clock at the southern end of Manhattan, there was a shared sense that we were at least doing something in providing a tiny economic shot in the arm to this recovering city. Never before had I felt a sense of community with my fellow theatregoers like I did while seeing those two shows.
