Steve On Broadway (SOB)

Exit The King (The SOB Review)

Exit The King (The SOB Review) - Ethel Barrymore Theatre, New York, New York
**1/2 (out of ****)

All hail Geoffrey Rush! Long live the king!

As the 400+ year old King Berenger in the often spellbinding new translation of Eugene Ionesco's Exit The King he co-wrote with Neil Armfield, the Academy Award winning actor delivers the year's most brilliant and breathtaking tour de force performance that is simply unmissable.

Quite a feat for a beleaguered king who doesn't quite know when to make his long overdue exit, either by abdicating the thrown or gasping his last breath. Even as the play -- as well as king -- fizzles out during the long-winded second act, Rush remains a vibrant force to behold.

Rush is ably supported by a solid cast, including the ever redoubtable Andrea Martin as the king's servant Juliette and a nuanced Lauren Ambrose as the king's first wife Queen Marie. If Susan Sarandon disappoints as Queen Marguerite, it's because there's no hint of irony in her performance, which is what theatre of the absurd requires.

While Rush and Armfield (who also directed) may have found eerie parallels with the world as we knew it as recently as one year ago (when they first mounted their revival of Ionesco's work Down Under), their intended parable was entirely lost on the lovely lady behind me. Immediately after the measurably more riveting first act, she asked me what Exit The King was supposed to symbolize. I gingerly explained that it was intended in part as a metaphor for the hapless leadership the English-speaking world had just a few short months ago. "Oh," she replied, "I never would have thought that."

Despite its shortcomings, I wholeheartedly recommend seeing Exit The King. Geoffrey Rush's awe-inspiring achievement is worthy of a king.

This is Steve On Broadway (SOB).

Labels: Andrea Martin, Broadway, Eugene Ionesco, Exit The King, Geoffrey Rush, Lauren Ambrose, Neil Armfield, Play, Susan Sarandon, The SOB Review, Theatre Of The Absurd

posted by Steve On Broadway (SOB) @ Thursday, May 28, 2009 2 comments

Don't Quit Your Night Job (The SOB Overview)

Don't Quit Your Night Job (The SOB Overview) - Zipper Theatre, New York, NY

So where are all the cool kids known as Broadway Babies hanging out after hours?

Look no further than a dozen blocks or so south of the Great White Way to the illustrious Zipper Theatre, where on a monthly basis, Don't Quit Your Night Job keeps the midtown theatre party going with fresh and funny improv.

Like a virgin touched for the very first time, I attended my first DQYNJ last month and was amazed at the brisk pacing coupled with big name stars of the stage -- including Norbert Leo Butz, Sutton Foster, Andrea Martin, Christopher Sieber and George Wendt -- going toe to unstubbed toe with this new-age variety show's talented creators Steve Rosen, David Rossmer, Sarah Saltzberg and music director Dan Lipton.

Given the very nature of improv, some pieces work better than others, but you can't help but admire their spunk. My favorite bit was watching Sutton Foster and Andrea Martin compete in a hilarious obstacle race buttressed by a bloviating Broadway bent.

And to boot, all proceeds from the March performance -- a mere $20 to get in the door, although get there early in April to secure a halfway decent seat -- went to benefit Wendy Wasserstein’s Open Doors Initiative, a mentoring program offered through the Theatre Development Fund (TDF) that provides small groups of high school students an in-depth introduction to live theatre and dance.

So if you want a chance to hang out where all the cool kids are, check out Don't Quit Your Night Job.

This is Steve On Broadway (SOB).

Labels: Andrea Martin, Broadway, Don't Quit Your Night Job, Improvisation, New York City, Off-Broadway, Sutton Foster, The SOB Overview, Wendy Wasserstein

posted by Steve On Broadway (SOB) @ Saturday, April 05, 2008 0 comments

SOB's Singular Sensations Of '07 - Honorable Mentions

SOB's Singular Sensations Of '07 - Honorable Mentions

During the course of 2007, I’ve been extraordinarily fortunate to have been in the audience for 82 stage productions ranging from the very small-scale play to the most elaborate of spectacles.

In my quest to see great theatre, my year began in Sydney Australia and took me to such far-flung destinations as London, Beijing, Stuttgart, Tokyo and Winnipeg. I've traversed the United States, crisscrossing from California to Massachusetts, Washington State to Georgia, Nevada to Connecticut, Colorado to Wisconsin. Then there were the three American communities that really know how to do live theatre: Chicago, Minneapolis/St. Paul and of course, New York.

Throughout my travels, several outstanding plays and musicals captured my heart, thanks in no small part to the enormously talented array of actors who found a way to strike a nerve and tap into a vein like few others. They've mesmerized, wowed and inspired me with a unique turn of a phrase, fluidity of movement or sublime singing voice or a combination of all three -- all provided that rare spinetingling sensation that can only be found through a live performance.

While I’ve been singling out SOB’s 7 Singular Sensations of ’07, please allow me to add my special honor roll of outstanding performances from the past year that simply took my breath away. Although they narrowly missed making my top seven for 2007, I won't soon forget how captivating each of these singular sensations was:

Harriet Harris - The Glass Menagerie (Guthrie, Minneapolis, MN) and Old Acquaintance (American Airlines Theatre, New York, NY)

Saycon Sengbloh - The Color Purple (Broadway Theatre, New York, NY)

Bebe Neuwirth – Chicago (Ambassador Theatre, New York, NY)

Chazz Palminteri – A Bronx Tale (Walter Kerr Theatre, New York, NY)

Vanessa Redgrave – The Year of Magical Thinking (Booth Theatre, New York, NY)

Frank Langella - Frost/Nixon (Bernard B. Jacobs Theatre, New York, NY)

Martha Plimpton – Cymbeline (Lincoln Center at the Vivian Beaumont, New York, NY)

Kevin Kline – Cyrano de Bergerac (Richard Rodgers Theatre, New York, NY)

Andrea Martin – Young Frankenstein (Hilton Theatre, New York, NY)

Christopher Fitzgerald – Young Frankenstein (Hilton Theatre, New York, NY)

Kerry Butler – Xanadu (Helen Hayes Theatre, New York, NY)

David Pittu – Is He Dead? (Lyceum Theatre, New York, NY)

Yasen Peyenkov – The Diary Of Anne Frank (Steppenwolf, Chicago, IL)


With the addition of these thirteen, I’ve singled out twenty consummate performances that were singularly sensational. Each of these performers has my utmost respect and appreciation, and I look forward to the opportunity to see them perform another day.

This is Steve On Broadway (SOB).

Related Stories:
SOB's 7 Singular Sensations Of '07 - #2: Christine Ebersole (December 30, 2007)
SOB's 7 Singular Sensations Of '07 - #3: Amy Morton (December 29, 2007)
SOB's 7 Singular Sensations Of '07 - #4: Elena Roger (December 28, 2007)
SOB's 7 Singular Sensations Of '07 - #5: Raúl Esparza (December 28, 2007)
SOB's 7 Singular Sensations Of '07 - #6: John Gallagher, Jr. (December 28, 2007)
SOB's 7 Singular Sensations Of '07 - #7: Jennifer Holliday (December 27, 2007)
SOB's 6 Singular Sensations Of '06 - #1: Patti LuPone (December 30, 2006)
Honorable Mentions: SOB's Singular Sensations Of '06 (December 30, 2006)
SOB's 6 Singular Sensations Of '06 - #2: Cate Blanchett (December 30, 2006)
SOB's 6 Singular Sensations Of '06 - #3: Chita Rivera (December 29, 2006)
SOB's 6 Singular Sensations Of '06 - #4: Barry Humphries (December 28, 2006)
SOB's 6 Singular Sensations Of '06 - #5: Kitty Carlisle Hart (December 28, 2006)
SOB's 6 Singular Sensations Of '06 - #6: Meryl Streep (December 26, 2006)

Labels: Andrea Martin, Bebe Neuwirth, Chazz Palminteri, Frank Langella, Harriet Harris, Kevin Kline, Martha Plimpton, Saycon Sengbloh, SOB's 7 Singular Sensations of '07, Vanessa Redgrave

posted by Steve On Broadway (SOB) @ Monday, December 31, 2007 0 comments

Did Critics Think Young Frankenstein Was Putzin' On The Shtick?

Did Critics Think Young Frankenstein Was Putzin' On The Shtick?

So much for being anything coming close to resembling a monster hit. Instead, critics smelled blood.

Earlier this evening, Mel Brooks' much anticipated Young Frankenstein opened to what can only be described as largely disappointing initial reviews. Every single one invariably compared this effort with the ecstatically-acclaimed The Producers, which took home 12 Tony Awards in 2001. The critics largely thought the songs to be unmemorable with Roger Bart and Megan Mullally taking their share of the hits, while Andrea Martin, Christopher Fitzgerald, Sutton Foster and Shuler Hensley earning what outright praise could be offered.

Proffering that Young Frankenstein is "not exactly the requisite delirium the best musical comedy can provide," the review by Michael Kuchwara of the Associated Press is a mixed bag: "The musical's intentions aren't as clear since song and dance get in the way of the parody, diluting the spoofing....Frustratingly, Bart never gets to burst out with a show stopper of his own. Martin, though, provides some sassy, salacious humor, hilariously channeling the sexual repression of the housekeeper Frau Blucher....Young Frankenstein should do wonders for the career of Christopher Fitzgerald, an athletic scamp of a guy who portrays Frankenstein's devoted, demented sidekick, Igor. Verbally and physically, the man can command the stage."

Saying that the show is funny "sometimes," Newsday's Linda Winer is also mixed tending toward negative: "The expert actors are never less than enjoyable as characters created, unforgettably, by the now-iconic movie cast. And Andrea Martin's Frau Blucher and Shuler Hensley's Monster are demonically adorable....But the sweat of competence drives too much of the vintage Brooks humor this time, and the staging by ace director-choreographer Susan Stroman seems more formula than invention."

Claiming that "lightning hasn't struck twice," when making his inevitable comparison with The Producers, David Rooney of Variety still ends up offering a middling to positive critique: "[A]show that could have been a blast ends up being just good enough....But it's a far more mechanical creation, with little of the heart or liberating belly laughs of its predecessor....Standouts are the indispensable Andrea Martin as sinister haushag Frau Blucher and Christopher Fitzgerald as hunchback Igor. Fitzgerald does the impossible by claiming a role forged by Marty Feldman as his own inexhaustibly vaudevillian comic creation."

Complaining that it left him "with a monster-size headache," The New York Times' Ben Brantley only laughed three times: "[M]oney can’t buy you flair. It can’t even buy you laughs....And if the headline stars, Mr. Bart (in the title role) and Megan Mullally (as his Park Avenue fiancée), don’t feel naturally wedded to their roles, the production does offer confirmation of the distinctive, very different talents of Sutton Foster, Shuler Hensley and Andrea Martin. The show takes many of the elements that made The Producers such a delight and then saps them of their joy by overselling them."

Accusing Brooks & Co. of having " just made Young Frankenstein its victim," USA Today's Robert Bianco offers two-and-a-half stars: "What worked on film works, for the most part, on stage. It's when the show gets inventive, expansive and, well, musical that it gets into trouble....too many songs are dull, too many seem randomly inserted, and almost all either send the story wandering off in pointless new directions or extend old bits that were funnier shorter. The songwriting skill Brooks showed in The Producers is absent here....Struggling to hold his own against the more colorful secondary characters, Bart sends his voice screeching up to a register that, when overamplified, threatens to scratch glass. Luckily, Foster, Fitzgerald and Martin compensate -- with Martin's hilariously varied response to those whinnying horses almost worth the price of admission on its own. Hensley makes 'Puttin' on the Ritz' the show-stopper it should be."

UPDATED (November 9, 2007 - 9:37 am EST)
"Although Young Frankenstein isn't the joyous celebration one hoped for," for Joe Dziemianowicz of New York's Daily News, he still musters a marginally positive review: "Make no mistake: The show is big and entertaining. But it never matches the delirious thrills of The Producers, whose creative team regrouped to make this monster musical based on Brooks' 1974 horror-film spoof....Many of Brooks' songs disappoint, though. They lack the snap and wit he's shown before and do nothing to move the story along....Roger Bart heads the terrific cast as the mad doctor, Frederick Frankenstein. He sings and dances with enormous ease and charisma and acts with the right neurotic edge. Christopher Fitzgerald makes a fitting and very funny Igor, his humpbacked helper."

Lamenting that "it is not the The Producers," New York Post's Clive Barnes still offers a solid three-star review: "Despite music that's more ho-hum than hummable, Brooks's lyrics are bright and witty. Better yet, the book -- maintaining virtually all of those iconic quotable quotes -- does a great job, with the assistance of co-writer Thomas Meehan, in transferring the original script to the stage. An even greater job is done by Stroman whose staging, choreography and supervising of special effects manage to suggest the Broadway musical at its dizziest, glitziest and funniest. In her entire career, Stroman has done nothing better - she even outproduces her work on The Producers."

However, blasting this as a "shrill, misbegotten, deeply cynical enterprise," Eric Grode of The New York Sun submits perhaps the deepest pan: "[W]ith the exception of about a dozen jokes (nearly all of which were pulled verbatim from the film) and an Act II showstopper, the final product has a shockingly lackadaisical, dashed-off quality that no amount of whiz-bang stagecraft can conceal....Sadly, however, the shrewd casting does not extend to its Doctor Frankenstein. Roger Bart (the lisping Carmen Ghia from The Producers) has been square-pegged into the straight-man role, one for which he is particularly ill suited. Rather than attempting to rein in the surrounding madcaps until the effort occasionally reduces him to hysterics, which would have recalled Gene Wilder in the film, Mr. Bart performs nearly every scene in an exasperated shriek that brings to mind an unmodulated Nathan Lane."

So there you have it, no rapturous (and mostly mixed at best) reviews and every single one makes comparisons with Brooks' greatest hit The Producers. Will this matter when Brooks & Co. supposedly have over $30 million in advance ticket sales? Probably not, but it sure could bring down the top ticket pricing in a hurry....yet Mel Brooks may still be laughing all the way to the bank.

This is Steve On Broadway (SOB).

Click here for tickets.
Related Stories:
It's Alive! Young Frankenstein Opens On Broadway (November 8, 2007)
Bart's Back: Bad Omen? (October 24, 2007)
The Broadway Theatres Not Impacted By Labor Dispute (October 17, 2007)
Shubert Alley Schadenfreude, Or Mel's Funk (October 11, 2007)
Once Again, I Have To Ask.... (September 20, 2007)
Young Frankenstein's Gross Out Factor (September 7, 2007)
Seattle Times: Young Frankenstein's Shtick Gets Old (August 24, 2007)
Riedel's Deep Abby Normal?(August 17, 2007)
Young Frankenstein (The SOB Preview) (August 13, 2007)
Will These Eyes Meet? Hoping For Better Than 75% (August 10, 2007)
Is Mel Worth It? (August 4, 2007)
Thanks, Mel! (July 6, 2007)
What Motivates You To See A Broadway Show? (July 5, 2007)
That's Franken$$$$$TEIN! (June 29, 2007)
Cloris To Mel: Put Up Your Dukes! (June 13, 2007)
Pirate Queen Set To Abdicate Hilton Throne (June 6, 2007)
Billion Dollar Broadway Baby? Almost. (May 30, 2007)
Mel Brooks: "It Looks Like The Hilton Theatre" (May 25, 2007)
End Of Plank For Pirate Queen? (May 18, 2007)
It's Official: Mullally Cast In Young Frankenstein (March 9, 2007)
The Hits From Coast To Coast (March 8, 2007)
Whither Goeth Chenoweth? (February 27, 2007)
Producers Out, Young Frankenstein In (February 22, 2007)
That's FrankenSTEEN: Just In Time For Halloween (January 24, 2007)
M-G-M: Movies-Going-Musical (January 3, 2007)
Young Frankenstein Workshop To Feature Monster Casting (October 11, 2006)

Labels: Andrea Martin, Broadway, Christopher Fitzgerald, Critics' Capsule, Film, Mel Brooks, Musical, Roger Bart, The Producers, Young Frankenstein

posted by Steve On Broadway (SOB) @ Thursday, November 08, 2007 4 comments

It's Alive! Young Frankenstein Opens On Broadway

It's Alive! Young Frankenstein Opens On Broadway

It all comes down to this evening.

After months and months of negative publicity for charging $450 for the top seats, not publicly sharing the grosses, not paying dues for the Dramatists Guild, dumping the beloved Cloris Leachman, and star Roger Bart's bad back, Mel Brooks' second film adaptation to be turned into a big splashy Broadway musical finally opens this evening.

Brooks' beloved film Young Frankenstein gets fine tunered with the help of Thomas Meehan and director/choreographer Susan Stroman.

Bart takes on the title role, with Megan Mullally, ahem, assuming the position of Elizabeth, Andrea Martin instilling fear in horses as Frau Blucher, Christopher Fitzgerald humping along as Igor, Sutton Foster rolling in der hay as Inga and Shuler Hensley puttin' on the ritz as the Monster.

While I've been highly critical of the aforementioned offenses, I also have been able to separate those issues from my enjoyment of the show during its Seattle tryouts. As cathartic as dissing it with a stinging review might have been, I'm the first to admit that I rather liked Young Frankenstein.

The real test with tonight's opening and tomorrow's reviews is whether the critics can do the same, or if they'll use the "this was too much like the movie" line to pile on. Find out tomorrow in my critics' capsule.

This is Steve On Broadway (SOB).

Click here for tickets.
Related Stories:
Bart's Back: Bad Omen? (October 24, 2007)
The Broadway Theatres Not Impacted By Labor Dispute (October 17, 2007)
Shubert Alley Schadenfreude, Or Mel's Funk (October 11, 2007)
Once Again, I Have To Ask.... (September 20, 2007)
Young Frankenstein's Gross Out Factor (September 7, 2007)
Seattle Times: Young Frankenstein's Shtick Gets Old (August 24, 2007)
Riedel's Deep Abby Normal?(August 17, 2007)
Young Frankenstein (The SOB Preview) (August 13, 2007)
Will These Eyes Meet? Hoping For Better Than 75% (August 10, 2007)
Is Mel Worth It? (August 4, 2007)
Thanks, Mel! (July 6, 2007)
What Motivates You To See A Broadway Show? (July 5, 2007)
That's Franken$$$$$TEIN! (June 29, 2007)
Cloris To Mel: Put Up Your Dukes! (June 13, 2007)
Pirate Queen Set To Abdicate Hilton Throne (June 6, 2007)
Billion Dollar Broadway Baby? Almost. (May 30, 2007)
Mel Brooks: "It Looks Like The Hilton Theatre" (May 25, 2007)
End Of Plank For Pirate Queen? (May 18, 2007)
It's Official: Mullally Cast In Young Frankenstein (March 9, 2007)
The Hits From Coast To Coast (March 8, 2007)
Whither Goeth Chenoweth? (February 27, 2007)
Producers Out, Young Frankenstein In (February 22, 2007)
That's FrankenSTEEN: Just In Time For Halloween (January 24, 2007)
M-G-M: Movies-Going-Musical (January 3, 2007)
Young Frankenstein Workshop To Feature Monster Casting (October 11, 2006)

Labels: Andrea Martin, Broadway, Christopher Fitzgerald, Film, Megan Mullally, Mel Brooks, Musical, Opening Night, Roger Bart, Sutton Foster, Thomas Meehan, Young Frankenstein

posted by Steve On Broadway (SOB) @ Thursday, November 08, 2007 0 comments

Young Frankenstein (The SOB Preview)

Young Frankenstein (The SOB Preview) - The Paramount, Seattle, WA

***1/2 (out of ****)

Is Young Frankenstein any good? That would be "The $450 Question."

Or perhaps more incisively, is it worth $450 per ticket? That, my friends depends entirely upon your point of view.

Personally, I could never bring myself to spend that kind of money on a theatre ticket as I think I've already made abundantly clear. But if all things are truly relative, I can tell you that I enjoyed this nearly Broadway-ready Young Frankenstein much, much more than Jersey Boys, where the top seats fetch a farfetched $351.50.

Over this past weekend, I flew to Seattle to take in the out-of-town tryout of Mel Brooks' Young Frankenstein, and I can tell you it has monster hit written all over it. Yes, plenty of tinkering remains to be completed (can somebody please give a hand to sound designer Jonathan Deans -- the entire first couple tunes were so muffled that I could barely understand what was being sung), and yes, it currently runs about a half hour too long (vooof!), but overall, Brooks' latest film-cum-stage musical is funny, funny, funny.

And in answer to the original question, yes, it's pretty darned good, too.

Given that I saw the show only days into its first previews, what's remarkable is the nearly excellent shape in which Young Frankenstein already is for a show that will be further fine-tuned in the weeks ahead.

Credit Brooks and Thomas Meehan for embracing all of the signature lines and hysterical bits from the film and running with them. They're not only all here, but the rapt audience clearly anticipates each one, cheering enthusiastically as each is delivered with relish (now I finally know how all those Monty Python fans felt during Spamalot).

Yet, Brooks and Meehan expand on the story by offering up a more fully-realized Elizabeth thanks to a wickedly funny Megan Mullally, and Igor via an absolutely hilarious Christopher Fitzgerald -- Wicked's original Boq -- in an uproarious breakthrough performance that makes you all but forget Marty Feldman.

Fortunately, they're not alone. For my first-time ever, I finally saw Sutton Foster perform and got to see what the fuss is about; not only can she sing and dance with the best of them, she's a voluptuous laugh riot to boot as Inga. Her "Roll In The Hay" had me rolling in the aisle. As much as I hoped to see Cloris Leachman recreate the role of Frau Blucher, there's no better substitute than the pricelessly droll Andrea Martin, who delights with nodding approval from neighing horses; her "He Vas My Boyfriend" underscores her comedic versatility. And while a monster of few words, Shuler Hensley makes for about the most lovable bogeyman ever -- just ask Mullally, who sings down the house with her risible "Deep Love."

The toughest role certainly falls on former second-stringer and Tony-winner Roger Bart, who finally graduates to a leading role with plenty of comic pizzazz. While it takes a while for his Dr. Frederick Frankenstein to rise to the heights of Gene Wilder from the silver screen version, his winning madness and heart ultimately win the audience over.

Despite sprinklings of vampires and werewolves, surprisingly few of the tunes by Mel Brooks capture the lunacy of The Producers, but as noted above, this is still a work in progress. Although I still recall the strains of the aforementioned "Deep Love," along with "Together Again For The First Time" when Frederick and Igor forge their bond, if I were to guess which tunes would go away to speed along the narrative, I'd suggest the throwaway "Welcome To Transylvania" or the needless "Please Send Me Someone" by the one-scene Hermit.

Perhaps it's for these reasons that the real showstopping tune turns out not to be a newly written Brooks piece, but instead, Irving Berlin's borrowed "Puttin' On The Ritz." Like a Busby Berkeley extravaganza, this signature tune catapults Young Frankenstein to the highest heights of hilarity.

Thanks to the unique vision of director/choreographer Susan Stroman, these Transylvanian hills come alive, not only with the sound of music, but also with enchanting stagecraft. Robin Wagner has outdone himself with Frankenstein's laboratory alone, but when you add everything from a ocean-going ship to Frankenstein Castle's grand hall, add a dose of Marc Brickman's enchanting projection designs and throw in Peter Kaczorowski's brilliant lighting design, suddenly there's more magic than you can shake a beaker at. Then, of course, there's William Ivey Long's wide-ranging costume design that bridges New York chic with Transylvania geek.

I fully trust that the final product that bows on Broadway will be precision perfect, but this is as abby-normally terrific as you can get this early.

This is Steve On Broadway (SOB).

Click here for Young Frankenstein tickets (Seattle).
Click here for Young Frankenstein tickets (Broadway).
Related Stories:
Will These Eyes Meet? Hoping For Better Than 75% (August 10, 2007)
Is Mel Worth It? (August 4, 2007)
Thanks, Mel! (July 6, 2007)
What Motivates You To See A Broadway Show? (July 5, 2007)
That's Franken$$$$$TEIN! (June 29, 2007)
Cloris To Mel: Put Up Your Dukes! (June 13, 2007)
Pirate Queen Set To Abdicate Hilton Throne (June 6, 2007)
Billion Dollar Broadway Baby? Almost. (May 30, 2007)
Mel Brooks: "It Looks Like The Hilton Theatre" (May 25, 2007)
End Of Plank For Pirate Queen? (May 18, 2007)
It's Official: Mullally Cast In Young Frankenstein (March 9, 2007)
The Hits From Coast To Coast (March 8, 2007)
Whither Goeth Chenoweth? (February 27, 2007)
Producers Out, Young Frankenstein In (February 22, 2007)
That's FrankenSTEEN: Just In Time For Halloween (January 24, 2007)
M-G-M: Movies-Going-Musical (January 3, 2007)
Young Frankenstein Workshop To Feature Monster Casting (October 11, 2006)

Labels: Andrea Martin, Broadway, Film, Megan Mullally, Mel Brooks, Musical, Roger Bart, Seattle, Shuler Hensley, Sutton Foster, The SOB Preview, The SOB Review, Young Frankenstein

posted by Steve On Broadway (SOB) @ Monday, August 13, 2007 14 comments

Cloris To Mel: Put Up Your Dukes!

Labels: Andrea Martin, Broadway, Cloris Leachman, Film, Mel Brooks, Musical, Young Frankenstein

posted by Steve On Broadway (SOB) @ Wednesday, June 13, 2007 1 comments

It's Official: Mullally Cast In Young Frankenstein

Labels: Andrea Martin, Broadway, Cloris Leachman, Kristin Chenoweth, Megan Mullally, Musical, Roger Bart, Rumor, Seattle, Shuler Hensley, Sutton Foster, Tryout, Young Frankenstein

posted by Steve On Broadway (SOB) @ Friday, March 09, 2007 4 comments