Putting It Planely: And Another One DownThis afternoon, the producers of the 2008 Tony Award Best Revival of a Play
Boeing-Boeing announced that the show that's been pressurized for laughter will close its cabin doors for good. The show will close at Broadway's
Longacre Theatre on January 4, 2009.
Personally,
I found this show to be one of those rare, laugh-out-loud absurdly funny shows. Making it a joy to see was British actor and onetime Wisconsin resident
Mark Rylance, who earned a very well-deserved Tony Award for his hilarious portrayal of befuddled Wisconsinite Robert. But it was Rylance who ultimately befuddled Tony viewers with what was surely one of the most unusual acceptance speeches in years.
Helmed by
Matthew Warchus, the revival of
Marc Camoletti's farce (translated by
Beverley Cross and
Francis Evans) first landed in London nearly two years ago with Rylance leading the cast. Then, the show opened on Broadway on May 4, 2008, with Rylance reprising his role, alongside
Christine Baranski,
Bradley Whitford,
Gina Gershon,
Kathryn Hahn and the Tony-nominated
Mary McCormack. Rylance and Baranski remain in the show.
In recent weeks,
Boeing-Boeing's box office has been in a holding pattern around the 60% capacity level. But with economy crashing and burning, and having recouped their initial investment, the producers are closing out the very successful revival on a high note, and plans are aloft for a 45-week national tour. When
Boeing-Boeing finally closes, it will have played 280 performances.
This is Steve On Broadway (SOB).
Labels: Boeing-Boeing, Bradley Whitford, Broadway, Christine Baranski, Closing Notices, Gina Gershon, Kathryn Hahn, Mark Rylance, Mary McCormack, Matthew Warchus, Play, Revival
Hay Carumba! Mamma Mia! Is Fun!Never to be confused with great art, the stage musical
Mamma Mia! nevertheless has long been one of my truly guilty pleasures.
There’s a combination of reasons. I was always a closet
ABBA fan, even back in the 1970s when it was largely considered
naff to be so in the States. I even went to an ABBA concert back in 1979 during the Milwaukee swing of their “
Voulez-Vous” tour.
But when I saw the West End mounting of
Mamma Mia! in September 1999, I was struck by the inherent ingenuity of stringing together a story, however silly or superfluous, using the most catchy if not most nonsensical pop tunes of all time. Yes, there were groan-worthy moments as certain tunes were shoehorned into the production. But with one wink and nod after another, it was clear that those moments were exactly as its creators intended from the start, and that’s what made this show such harmless, even joyous fun.
Long before this granddaddy of all jukebox musicals came along, first in London in 1999, and then in rest of the world (including Broadway in 2001), ABBA had already seeped back into our collective consciousness thanks largely to two Australian films from 1994: “
The Adventures of Priscilla, Queeen Of The Desert” and “
Muriel’s Wedding.” So it seemed entirely apropos that the film version of “
Mamma Mia!” would open Down Under one week in advance of its American debut. And so it also seemed appropriate for me to find a cinema while here in Australia to share the silver screen treatment with the world’s most indisputably biggest ABBA fans.
Sure the storyline is as schlocky as ever. Of course it’s mindless and at times downright mind-numbing. It’s also true that not every cast member has the same vocal talent. And yes, this will never find itself listed as a truly great film.
But thanks to a highly spirited, ultra-game cast, it’s also tremendous fun, particularly watching the likes of
Meryl Streep,
Christine Baranski and
Julie Waters sing their hearts out through such tunes as the title song, “Does Your Mother Know” and “Take A Chance On Me,” respectively.
But it’s the full-on, well-choreographed renditions of “Dancing Queen” and “Lay All Your Love On Me” that really make this film version shine.
Maybe the future holds no Academy Awards for “Mamma Mia!” But if you sit back, relax and don’t expect too much, you just might find yourself enjoying it for what it is and thanking ABBA for the music that keeps on giving.
This is Steve On Broadway (SOB).
Labels: ABBA, Christine Baranski, Film, Julie Waters, Mamma Mia, Meryl Streep, Musical
Boeing-Boeing (The SOB Review) - Longacre Theatre, New York, NY
*** (out of ****)Looking for the funniest, laugh-out-loud comedy currently on the Great White Runway?
Look no further than Broadway's
Longacre Theatre where almost in spite of itself,
Boeing-Boeing has touched down for what looks to be a lengthy layover. It's a mostly fantastic, high-flying farce.
In a season already filled with plenty of this genre, from the frivolous (
The Ritz) to the fraught (
November) to the fanciful (
Is He Dead?), one would be forgiven for thinking audiences would have had enough of the fare. And to be frank, I wondered how New Yorkers would respond to a revival of such a dated show, which
originally closed on Broadway almost as quickly as it opened back in February 1965.
But with
Claire van Kampen's groovy selection of sixties tunes setting the mood, supplemented by
Rob Howell's ingenious red, yellow and blue set and costume designs that are artfully augmented by
Hugh Vanstone's complementary lighting, it's clear from take-off that this is going to be a first-class flight.
Written by
Marc Camoletti (translated by
Beverley Cross and
Francis Evans),
Boeing-Boeing has a fairly simple, silly plot. Bernard (
Bradley Whitford) is a swinging American bachelor living in Paris who's simultaneously balancing three stewardess, er, flight attendant fiancées --
Kathryn Hahn as
TWA's Gloria,
Gina Gershon as
Alitalia's Gabriella and
Mary McCormack as
Lufthansa's Gretchen -- all with the help of a good old-fashioned
OAG (yes, they still print them). Bernard relies on the OAG's schedules to help him keep track of when his ladies would be in and out of his love nest.
Fortunately for Bernard, he has a cunningly complicit French maid Berthe (
Christine Baranski). In a delightful shellgame, whenever it's time for a shift change, Berthe wheels out a special cart with three color-coded boxes to ensure that there's no trace of the last female companion left for the next one to find.
Of course, as one would expect of any farce, all these best intentions come perilously close to crashlanding. Soon after Bernard's friend Robert (
Mark Rylance) unexpectedly comes calling from Wisconsin, the women in Bernard's life, quite predictably, all end up back at the Paris apartment at the same time. Not even a schedule manifest can predict turned-around and canceled flights.
As absurd as the storyline is,
Matthew Warchus portentously propels this
Boeing-Boeing to a new altitude with a turbocharged cruising speed that left me breathless from laughing. Much of the marvelous mirth comes from watching Rylance do his best to create diversions for his buddy Bernard's girlfriends, finding himself mirroring his friend's lust for life just a little too closely. It's hard to believe that this Shakespearean actor could be so capable of slapstick comedy, but in his Broadway debut, he's proving to be a worthy master. This is truly his show.
Nearly as wonderful is Baranski's wickedly funny take as Berthe. In her first Broadway outing since 1991's short-lived
Nick & Nora, this talented actress demonstrates a propensity for broad comic relief, whether it's with an exaggerated roll of her eyes or via her deadpan, droll response.
Regrettably, I can't say the same for Whitford. As a man wrestling to maintain his harem, he certainly gets all of the agitated nerves down pat. Yet they come along just a bit too soon, almost as if he's never flown before. And if you're going to have the testicular fortitude to balance three fiancées at once, you'd better have more than a bag full of nuts and nerves of steel before ever taxiing down the runway.
Among the array of assembled space waitresses, McCormack plays her Gretchen so over the top, I half expected oxygen masks to drop. As shockingly funny as she often is, I just wasn't buying her as a bona fide love interest for Bernard. Hahn's gumsmacking American is played much more credibly, but it's Gershon who wins the day with her glorious Gabriella -- this is the best I've ever seen her and it's hard not to fall for her.
Despite the wildly mixed performances,
Boeing-Boeing is about the wildest ride on Broadway. Fasten your seatbelts!
This is Steve On Broadway (SOB).
Click here for tickets.Related Stories:And The Tony Nominees Go To... (May 12, 2008)
Whoopi! Tony Eligibility And More Handicapping (May 9, 2008)
Did Boeing-Boeing Have Critics Flying High? (May 5, 2008)
Opening: Boeing-Boeing Lands On Great White Way (May 4, 2008)
Is It Just Me, Or... (Part III) (January 22, 2008)
Boeing-Boeing To Touch Down On Great White Way (September 17, 2007)
Was De La Tour's Latest A Tour De Force With Critics? (February 17, 2007)
London's Boeing-Boeing Flies Into Opening Night (February 15, 2007)
Labels: Boeing-Boeing, Bradley Whitford, Broadway, Christine Baranski, Kathryn Hahn, Mark Rylance, Mary McCormack, Matthew Warchus, Play, Revival, The SOB Review
Did Boeing-Boeing Have Critics Flying High?Yesterday, the first Broadway revival of the sixties sex farce
Boeing-Boeing opened at the
Longacre Theatre. Helmed by
Matthew Warchus, the play was written by
Marc Camoletti and translated by
Beverley Cross and
Francis Evans. The show stars
Christine Baranski,
Bradley Whitford,
Gina Gershon and
Mark Rylance.
Most critics were flying high in their praise of the show.
Offering that the revival "soars right out of its time zone and into some unpolluted stratosphere of classic physical comedy,"
The New York Times'
Ben Brantley is first in line for take-off: "
Boeing Boeing, it turns out, has great bones.... It allows the cast members to cut loose like preschoolers on the playground of their dreams. And like fond parents, we can enjoy their shenanigans while knowing that the slides and swing sets are too well-made for anyone to get seriously hurt. Their performances are among the most one-dimensional and stereotyped that have ever shown up on a Broadway stage -- and that’s a large part of their roaring success.... At the performance I saw, the ensemble began a tad shakily, and I wondered if I had been a fool to enjoy the play as much as I did when I saw it in London last year. But as the show progressed, everyone shed self-consciousness and found a shared rhythm. The second act was unconditional bliss."
Concluding that "nothing sullies the enjoyment of Warchus' sprightly production or of the play's unexpected ingenuity,"
Variety's
David Rooney also soars in his review: "It could have been a tired dollop of '60s camp in the wrong hands, but director Matthew Warchus and his sparkling cast fine-tune this fluffy French farce with clockwork precision, and the result is a riot.... [W]hile it usually requires more verbal complexity than physical dexterity to sustain this kind of featherweight comedy, Warchus and the ensemble do a remarkable job of keeping things at cruise speed for 2½ hours with no discernable lags.... [W]hile none of the women are slouches, the master of physical comedy here is Rylance, the one holdover from the production's London cast.... With inexhaustible inventiveness, Rylance gives shape to Robert's sly blossoming from a meek, unsophisticated bystander into a man eager to remedy his romantic inexperience and not shy about partaking of his friend's female smorgasbord."
Lauding that "it's nothing but blue skies and mile-high hilarity,"
Joe Dziemianowicz of New York's
Daily News gives this ticket four out of five stars: "At certain points, the comedy becomes very broad, almost ridiculous. But it's such a blast, you don't care. Credit goes to director Matthew Warchus, whose jet-propelled production is filled with fantastic performances. Chief among them is one by Mark Rylance, who played the frazzled and lovable Robert in London. In his Broadway debut, he creates one of the funniest characters in memory.... Bradley Whitford makes a dashing and dexterous playboy who seems to have taken the "American in Paris" thing to heart.... As the exasperated maid, seasoned joker Christine Baranski lays on the French accent thicker than a sauce Béarnaise -- and it works."
Gushing that "gold is gold, and if slogging through the likes of
Boeing-Boeing" is what it takes to mine it, so be it,"
Eric Grode of
The New York Sun offers a review that's positivey upright and in a locked position: "Matthew Warchus and his rubber-limbed sextet of actors have somehow wrenched Marc Camoletti's musty effort out from its own 747-size languors. And once again, the salvage operation is led by a superb comic performance. This time it's Mark Rylance, taking a decided step away from his renowned Shakespearean diet ... and creating a staggeringly funny portrait of lust-deranged masculinity.... The usually dependable Ms. Baranski trips up repeatedly on her impenetrable French accent but handles Berthe's silent passages neatly, with a deceptively casual face-off between her and Robert serving as a giddy respite amid the slamming doors and flying bodies. Mr. Whitford, by comparison, starts out uncomfortably broad and has nowhere to go as the tension builds."
Fessing up that "I hate to be a buzz kill.... [A]nd I don't have a clue to explain the genuine mirth around me,"
Newsday's
Linda Winer sounds as if the show lost her luggage: "Why the reception appears to be different now, I don't dare to analyze. Despite a dreamy hoot of a performance by Mark Rylance ... the director's comic philosophy is rooted in the bellowing, jumping around, hitting-with-a-beanbag-chair school of humor.... Please don't get me wrong. My problems is not prissy feminism, a modern distortion of feminism's joy and strength. Sure, women are plugged into the mechanics of the plot as if they were widgets in gumball-colored, miniskirted airline uniforms. But the women ... are at at least unpredictable. Warchus ... lets the women be sexual thugs-blowup dolls who are also action figures. The physical businesses -- the phony trembling fits, the floor rolling and the big leggy strides across the stage -- culminate, if that's the verb, with special 'curtain-call choreography' by Kathleen Marshall. Big strides for the theater, perhaps, are for another day."
Declaring that
Boeing-Boeing "crash landed,"
New York Post' s
Clive Barnes sounds as if he boarded the wrong flight in his one-star review: "When I saw this revival, staged by Matthew Warchus and designed by Rob Howell, in London last summer, I thought it was terrible, but Rylance had already left the cast, and I was assured by some that he had made a terrific difference. He does make a terrific difference. And it's still terrible -- as repetitious and as tedious as a flea circus.... But the whole cast, particularly the agile Whitford and a beautifully acidulated Baranski, as the game but aging French maid, prove to be accomplished farceurs."
With plenty of raves all around, this
Boeing-Boeing looks like it can settle in for a reasonably long, comfortable flight on the Great White Way. I'll be taking in a performance this week and will provide my own SOB Review shortly thereafter.
This is Steve On Broadway (SOB).
Click here for tickets.Related Stories:Opening: Boeing-Boeing Lands On Great White Way (May 4, 2008)
Is It Just Me, Or... (Part III) (January 22, 2008)
Boeing-Boeing To Touch Down On Great White Way (September 17, 2007)
Was De La Tour's Latest A Tour De Force With Critics? (February 17, 2007)
London's Boeing-Boeing Flies Into Opening Night (February 15, 2007)
Labels: Boeing-Boeing, Bradley Whitford, Broadway, Christine Baranski, Critics' Capsule, Mark Rylance, Matthew Warchus, Play, Revival
Opening: Boeing-Boeing Lands On Great White WayThis week marks the final homestretch for Broadway's 2007-08 Theatrical Season. The
last three shows open before this year's Tony Award derby shifts into high gear with its nominees being announced May 13.
The first of those three,
Boeing-Boeing, opens today at Rialto's
Longacre Theatre for an open-ended engagement. After this farce from
Marc Camoletti and
Beverley Cross (late husband of
Dame Maggie Smith) and
Francis Evans first opened in London during 1961, it became the West End's longest-running comedy. But amazingly,
it crashed and burned when during its 1965 Broadway run of just 23 regular performances.
Now directed by
Matthew Warchus, this
Boeing-Boeing is taking off on the Great White Way with a stellar cast, including
Christine Baranski (in her first regular Main Stem outing since 1991's
Nick & Nora),
Bradley Whitford in his first Broadway turn since serving as a replacement in 1989-91's
A Few Good Men),
Gina Gershon and
Mark Rylance, who is not only reprising his Olivier-nominated role as Robert, but is finally making his Broadway debut.
I'm hearing that this version of
Boeing-Boeing is played much more broadly than the acclaimed West End mounting. Will the second time be the charm for this play on the Great White Way? Find out tomorrow as I provide my critics' capsule.
This is Steve On Broadway (SOB).
Click here for tickets.Related Stories:Is It Just Me, Or... (Part III) (January 22, 2008)
Boeing-Boeing To Touch Down On Great White Way (September 17, 2007)
Was De La Tour's Latest A Tour De Force With Critics? (February 17, 2007)
London's Boeing-Boeing Flies Into Opening Night (February 15, 2007)
Labels: Boeing-Boeing, Bradley Whitford, Broadway, Christine Baranski, London, Mark Rylance, Matthew Warchus, Opening Night, Play, Revival, Transfer
Barrington Stage Opens a New Window for Sandy Duncan as MameThe Berkshire's Barrington Stage has just announced that they've found their
Mame in actress
Sandy Duncan.
Donna McKechnie was originally slated for the role.
Although Duncan's perhaps most widely known for her stints on television's "
The Hogan Family" from the late 80s and her wonderful short-lived "
Funny Face" sitcom (that later became "
The Sandy Duncan Show") back in 1971 -- as well as serving as a long-term spokesperson for
Triscuits -- Duncan has had an accomplished experience treading the boards over the last forty-plus years. In fact, she earned three Tony nominations: for 1969's
Canterbury Tales, 1971's
The Boy Friend and 1980's
Peter Pan. She's also been among the countless stars to portray Roxie Hart in the ongoing Broadway revival of
Chicago.
Personally, I've had a chance to catch her far from Broadway in two perfectly delightful roles: as Reno Sweeney in an engaging 2002 staging of
Anything Goes and then again two years ago as Anna Leonowens in a decent touring production of
The King And I with
Martin Vidnovic. To be honest, I was very pleasantly surprised not only by her singing but also by her hoofing. She was charming in making each character her own.
Having the captivating
Christine Baranski revival of
Mame so fresh in my memory, I've still got to wrap my mind around Duncan in this challenging role. But given how well she's surprised me before, she just might be able to swing leaving her own mark on Mame Dennis.
The
Julianne Boyd-helmed
Mame will run October 4-15 at
Barrington Stage in Pittsfield, Massachusetts.
This is Steve On Broadway (SOB).
Click here for ticket information.Labels: Christine Baranski, Mame, Musical, Revival, Sandy Duncan
Christine Baranski RSVPs for MTC's Regrets OnlyGreat news for New Yorkers who had been banking on seeing
Christine Baranski this year. The Tony-winning actress has been officially confirmed for
Manhattan Theatre Club's world premiere mounting of
Paul Rudnick's comedy,
Regrets Only.
Hopes were dashed earlier this summer for her titular turn as
Mame to reach Broadway, but
Baranski had indicated last month that she was in talks with MTC for a role in the
Christopher Ashley-helmed vehicle. Finally, Baranski will be back where she belongs: on the New York stage.
Regrets Only is described as a:
"...comedy of Manhattan manners, exploring the very latest topics in marriage and friendship. The setting: a Park Avenue penthouse. The players: a powerhouse attorney, his deliriously social wife and their closest friend, one of the world’s most staggeringly successful fashion designers. Add a daughter’s engagement, some major gowns, the President of the United States, and stir."
Regrets Only begins previews on October 19 and opens November 14 at MTC's City Center Stage I. Joining Baranski will be
Diane Davis (
Festen)
, Tony-winner
George Grizzard (
A Delicate Balance),
Jackie Hoffman (
Hairspray),
Siân Phillips (
Marlene) and
David Rasche (
Speed-the-Plow).
This is Steve On Broadway (SOB).
Click here for ticket information.http://rpc.technorati.com/rpc/ping
Labels: Christine Baranski, First Word On New Show, Mame, Off-Broadway, Play, Regrets Only
Baranski's Mame Won't Open a New Window on BroadwayFor the last several weeks, much of the entertainment buzz in the busy DC-New York corridor centered on whether the Eric Schaeffer-helmed Kennedy Center revival of
Mame starring Christine Baranski would transfer to Broadway's Palace Theatre. The official word appears to be that it won't,
according to a Playbill.com story published earlier this morning.
The production's costs apparently are much too prohibitive to justify a brief 20-week engagement. The Kennedy Center itself spent more than $5 million to produce the show, and it's visibly apparent to anyone who has had a chance to see the eye candy-filled tuner this summer in Washington. This has to be particularly disappointing for Baranski, who has enthusiastically talked at length about how she'd enjoy the opportunity to take this to New York.
But lest her New York fans lament not having a chance to see her anytime soon on the stage, Baranski is in talks with the Manhattan Theatre Club to perform in a Paul Rudnick play. Keep your fingers crossed for that one coming to fruition.
For anyone who has tickets for the current sold-out engagement of
Mame in our nation's capital, count yourself as truly fortunate to be among a select group of theatregoers able to see this outstanding musical before it becomes history on July 2.
This is Steve On Broadway (SOB).
Related Stories:Mame (The SOB Review) - The John F. Kennedy Center for the Performing Arts, Eisenhower Theatre, Washington, DC (June 18, 2006)
Mame Slightly Bruised, Not Maimed, by Critics (June 2, 2006)
Assassins Loose in Washington for Another Week (May 31, 2006)
Mame with Christine Baranski Begins Saturday at Kennedy Center (May 26, 2006)
Labels: Christine Baranski, Kennedy Center, Mame, Musical, Revival, Washington DC
Mame (The SOB Review) - The John F. Kennedy Center for the Performing Arts, Eisenhower Theatre, Washington, DC***1/2 (out of ****)Although I've previously enjoyed repeated viewings of Auntie Mame with Rosalind Russell, I had never before seen the glorious musical adaptation of Patrick Dennis' novel about his beloved aunt. I had no idea what I was missing. The Kennedy Center revival of
Mame has an exuberant brilliance that shines throughout.
While critics unfortunately converged on the show during the third day of previews -- giving only tepid reviews to Christine Baranski's portrayal of the title character -- it's clear that had they waited, they would have seen the Mame they thirsted for. In a bravura performance, Baranski more than commands the stage and captures Mame's "live, live, live" essence with gusto. The queen of perfect timing, Baranski asserts herself, whether in delivering a comic line or deadpan look. Coupled with a gorgeous singing voice -- if not always enough to overpower the formidible orchestra -- this multi-talented actress possesses the charm, wit and poise to make hers a most triumphant and confident Mame, one who lives life to the fullest and persuasively encourages everyone around her to do the same.
Despite the show's lengthy running time, director Eric Schaeffer expertly moves this musical's story along almost as quickly as Baranski's costume changes (elaborately designed by Gregg Barnes channeling his inner Bob Mackie) and evolving glorious set designs by Walt Spangler (with one notable exception: the pastoral Connecticut setting looks like it was swiped directly off a Microsoft screen saver). The story envelopes us from the earliest moments, taking us from Mame's unusual introduction to her orphaned nephew Patrick (played by a precocious Harrison Chad) to the stock market crash, to her disastrous attempts to make ends meet during the Depression, to her romance with Beauregard Jackson Pickett Burnside (Jeff McCarthy lends a gentile warmth as this southern gentleman), to Patrick's ill-fated romance with an intolerant, smug girl who stands for everything Mame rails against.
Through it all, Mame is supported by her long-suffering friends Vera Charles (the brilliant Harriet Harris) and M. Lindsay Woolsey (the charming Ed Dixon), along with her trusted aides Ito (Alan Muraoka) and Agnes Gooch (the delightful Emily Skinner), who takes Mame's advice on living life to its fullest to a fault by letting her hair down along with her guard.
The heart and soul of this show come from Jerry Herman's beguiling score and book by Jerome Lawrence and Robert E. Lee (the same duo responsible for writing the play
Auntie Mame). Warren Carlyle's intricate choreography from one of the show's earliest moments on "It's Today" lets you know that this is going to be one heck of a ride -- Baranski, by the way, can hoof it with the best of them, and that in itself is pretty spectacular. The music and dance crescendos with the breathtaking title tune centerpiece "Mame." If the second act isn't nearly as electrifying as the first, it's because the plot turns decidedly darker with the death of Beauregard, Agnes' unplanned pregnancy and Patrick's unfortunate choice of fiance.
Yet ultimately,
Mame proves a feast for the senses and anyone who wants to relive the glory of old-fashioned musical genius. More importantly,
Mame is a celebration of tolerance and the most American of ideals: the pursuit of happiness. The only thing that could make me any happier is a well-deserved transfer to the Great White Way.
This is Steve On Broadway (SOB).
Click here for ticket information (most performances are already sold-out).Related Stories:Mame Slightly Bruised, Not Maimed, by Critics (June 2, 2006)
Assassins Loose in Washington for Another Week (May 31, 2006)
Mame with Christine Baranski Begins Saturday at Kennedy Center (May 26, 2006)
Labels: Christine Baranski, Harriet Harris, Jerry Herman, Kennedy Center, Mame, Musical, Revival, The SOB Review, Washington DC
Assassins Loose in Washington for Another WeekDespite its typically oppressive summer heat and humidity, Washington DC is looking like the cool place to be over the next few months for great theatre. I've already reported on the impending opening for
Mame with Christine Baranski and the
transfer of Steppenwolf's Loves-Lies-Bleeding, both at the Kennedy Center.
But apparently another one of DC's hottest tickets is
Assassins, the Stephen Sondheim musical that already sold out its initial run at the area's Signature Theatre despite only having begun previews last night. But fear not -- do to the extraordinary buzz, the theatre just announced that it is adding one more week of performances in July.
If you read my
Flashback: Best of 2003-04, you'll know that the one and only Broadway incarnation of this amazing musical was my favorite show of that theatrical season. As dark as the subject matter is, the production also emanates a great deal of hope that despite some misguided individuals, the sum of our parts as a country is more than enough to prevail. If you missed this show on Broadway, now's your opportunity to see what promises to be a first class production with Joe Calarco at the helm -- but better act quickly to purchase tickets!
This is Steve On Broadway (SOB).
Click here for tickets.Related Stories:Mame Slightly Bruised, Not Maimed, by Critics (June 2, 2006)
Mame with Christine Baranski Begins Saturday at Kennedy Center (May 26, 2006)
DeLillo's Love-Lies-Bleeding Transfers to Kennedy Center (May 25, 2006)
Flashback: Best of 2003-04 (May 25, 2006)
Labels: Assassins, Christine Baranski, Joe Calarco, Mame, Musical, SOB Best of 2003-04, Stephen Sondheim, Steppenwolf, Washington DC
