SOB's Least Favorite Shows Of The Noughties: #2 - Glory Days (2008, 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 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. In retrospect,
I was far too kind to the subpar, threadbare 90-minute
Glory Days that dared to call itself a Broadway musical.
The show vanished immediately after opening night (I managed to catch one of its last previews). If not for the worst show of the decade (which I'll reveal soon), the ill-fated
Glory Days ironically would have achieved that most inglorious distinction.
Coming across as not even quite half-finished, this was not the type of show that should have so easily or quickly been catapulted directly to the Broadway spotlight from a regional theatre. The show could easily have been mounted by an Off Off-Broadway house and attracted an appropriate youthful audience it was clearly targeting without having the audacity to charge $100 or more per ticket. No glory there.
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, Glory Days, Musical, SOB's Least Favorite Shows Of The Noughties
The SOB Five "Worst" Of 2007-08As
noted yesterday, I've been extremely fortunate to take in 84 different performances of 81 various productions during the course of the 2007-08 Theatrical Season.
Since I'm
not given freebie tickets, instead paying for them all out of my own pocket, you can bet that I'm hoping beyond hope to be entertained by every single one of them. Even though there's really no such thing as a bad night at the theatre -- after all, you have to see some real dogs (my apologies to my pooches Henne and Fargo) to truly appreciate the best -- I've still managed to see some downright awful shows.
Since I paid for every last ticket and still take no paid advertising, I'm taking advantage of my right to free speech by offering up my third annual list of the "5 Worst" shows I saw. I may as well unleash all my inner negativism now before moving on to all the wonderful shows that have made my "Best of" lists.
And so, without any further ado, here are the
SOB Five Worst of 2007-08:
5 - Cry-Baby (Marquis Theatre, New York, NY)
Is it fair to count a performance of
Cry-Baby when it was just
three weeks into previews among my worst? Well, if they can charge me to see a bad show, I can include it on my list, and there was nothing about it that made me want to return once the show opened. I can only hope it actually improved, given its Tony nominations. Despite its multi-million dollar budget, this new musical quite incredibly comes across as a poor man's
Grease with its tired good girl gone gaga for bad boy premise. Sadly, the latest
John Waters-inspired Broadway musical
Cry-Baby is trashy fun. Without the fun.
4 - Gone With The Wind (New London Theatre, London, UK)
A flop of epic proportions, I understand that they're still chiseling away at this show a month after it opened in hopes of avoiding all their capitalization from becoming
Gone With The Wind. Although purely unintentional, this ranks as one of the year's funniest laugh-out loud musicals. Simply put, writer/sociologist
Margaret Martin and director
Trevor Nunn fail to deliver a compelling musical that can stand on its own. Their efforts have added nothing to the art of live theatre except endless exposition. Do we really need a narrator telling us that Miss Scarlett is about to look at herself in the mirror when we can see that for ourselves, or worse, having her step over dying soldiers rolling around on the stage who suddenly rise up to tell us they're all dying? Funny, yet sad at the same time.
3 - The Ritz (Studio 54, New York, NY)
The flaccid revival of
Terrence McNally's
The Ritz was low on shock value, except for how dull and lifeless it was. Ranking as one of director
Joe Mantello's most disappointing efforts yet, the only real highlight came near the end of the first act when its whacked-out Googie (
Rosie Perez) took to the stage of
The Ritz baths to sing an insipid, if it weren't so inspired, medley of tunes slapped together from the deviously clever mind of
Seth Rudetsky. For one brief enjoyable moment,
The Ritz thrilled before reverting back to the facile facscimile it was.
2 - Glory Days (Circle In The Square Theatre, New York, NY)
In retrospect,
I was far too kind to the subpar, threadbare 90-minute
Glory Days that dared to call itself a Broadway musical. The show vanished immediately after opening night. If not for the worst show of the year, the ill-fated
Glory Days ironically would have achieved that dubious distinction. Coming across as not even quite half-finished, this is not the type of show that should have so easily or quickly been catapulted directly to the Broadway spotlight from a regional theatre. The show could easily have been mounted by an Off Off-Broadway house and attracted an appropriate youthful audience it was clearly targeting without having the audacity to charge $100 or more per ticket. No glory there.
1 - Triple Espresso (Music Box Theatre, Minneapolis, MN)
Bad to the very last drop,
Triple Espresso was an inexplicably long-running musical revue about an eponymous comedy trio reuniting after 25 years. After running over a decade, it apparently had been percolating so long, it lost all its taste. The warmed-over schlock simultaneously tasted like it had been on the burner way too long without ever having been fully brewed to begin with.
So, there you have them: SOB's choices for the "5 Worst" shows I endured during the 2007-08 Theatrical Season. As I've stated in previous years:
Of course, this is all in the eye of the beholder. You may vehemently disagree or wonder whether I even have a clue as to what is artistic and what is not. But since my goal in life is to enjoy it rather than simply being a dilettante, I’m going to tell it like I see it by naming the five productions that I enjoyed less than any others.
If you saw any of these shows, let me know what you thought. And please feel free to share the worst shows you sat through (or walked out of) during that past year!
This is Steve On Broadway (SOB).
Related Stories:SOB's Best & Worst Of 2007-08 Theatre Season (May 22, 2008)
SOB's Best Of 2006-07: Top Ten Of The Year (June 4, 2007)
SOB's Best of 2006-07: Best Special Theatrical Events (May 23, 2007)
SOB's Best Of 2006-07: Best New Musicals (May 22, 2007)
SOB's Best Of 2006-07: Best New Plays (May 21, 2007)
SOB's Best Of 2006-07: Best Revivals Of Musicals (May 18, 2007)
SOB's Best Of 2006-07: Best Revivals Of Plays (May 16, 2007)
The SOB Five "Worst" Of 2006-07 (May 14, 2007)
SOB's Best & Worst Of 2006-07 Theatre Season (May 14, 2007)
SOB's Best of 2005-06: #1 - Theater Of The New Ear (May 30, 2006)
SOB’s Best of 2005-06: #2 – Guys And Dolls (May 26, 2006)
SOB’s Best of 2005-06: #3 – Hedda Gabler (May 25, 2006)
SOB’s Best of 2005-06: #4 – A Blameless Life (May 24, 2006)
SOB’s Best of 2005-06: #5 – Reeling (May 23, 2006)
SOB’s Best of 2005-06: #6 – “MASTER HAROLD”…And The Boys (May 21, 2006)
SOB’s Best of 2005-06: #7 – Love Song (May 19, 2006)
SOB's Best of 2005-06: #8 - Billy Elliot The Musical (May 18, 2006)
SOB's Best of 2005-06: #9 - The Well-Appointed Room (May 17, 2006)
SOB's Best of 2005-06: #10 - Sweeney Todd (May 15, 2006)
SOB's Best and Worst of 2005-06 Theatre Season (May 12, 2006)
Flashback: Best of 2004-05 (May 26, 2006)
Flashback: Best of 2003-04 (May 25, 2006)
Flashback: Best of 2002-03 (May 25, 2006)
Flashback: Best of 2001-02 (May 24, 2006)
Flashback: Best of 2000-01 (May 23, 2006)
Labels: Broadway, Cry-Baby, Glory Days, Gone With The Wind, London, Minneapolis/St. Paul, SOB Best of 2007-08, SOB Five Worst of 2007-08, The Ritz, Triple Espresso
One Song GloryPractically even before you could say, "FLOP!" the $2.5 million Broadway musical
Glory Days has
shuttered.
Not since 2003's failed
Oldest Living Confederate Widow Tells All with
Ellen Burstyn has a show closed immediately after its one opening night shot at glory.
Interestingly enough, when I took in a performance over the weekend, I kept getting asked by other members of the audience (including one unnamed critic), "Why are you here?" At the time, they made me feel like some old lech, but in retrospect, I think they were surprised to be there themselves.
This is a show that should never have transferred to Broadway without being better vetted along the way, including perhaps in an Off Off-Broadway gig that could have played more appropriately to its target audience.
The
pummeling was pretty severe with potshots coming from all directions. While
I thought the tiny tuner from
James W. Gardiner and
Nick Blaemire had some promise, it came across as completely underdeveloped and sadly lacking in any memorable tunes, with the exception of
Jesse J.P. Johnson's heartfelt "The Open Road."
Now, the only thing open is the
Circle In The Square Theatre's space. Any guesses on the next tenant?
This is Steve On Broadway (SOB).
Related Stories:Did Critics Make This A Glory Day For Glory Days? (May 7, 2008)
Glory Days (The SOB Review) (May 7, 2008)
Opening: Glory Days Hopes For Glory Night (May 6, 2008)
Early Tony Handicapping (March 25, 2008)
No Glory In Crap Shoot (March 24, 2008)
Glory Days Yet To Come This Broadway Season? (March 19, 2008)
Labels: Adam Halpin, Andrew C. Call, Broadway, Closing Notices, Closings, Eric Schaeffer, Glory Days, James W. Gardiner, Jesse J.P. Johnson, Musical, Nick Blaemire, Steven Booth, Transfer, Washington DC
Did Critics Make This A Glory Day For Glory Days?Last evening,
James W. Gardiner and
Nick Blaemire's tiny little musical called
Glory Days opened at Broadway's
Circle In The Square Theatre.
Eric Schaeffer directs
Steven Booth,
Andrew C. Call,
Adam Halpin and
Jesse J.P. Johnson as four high school friends who reunite one year beyond graduation.
Among critics, there was virtually no glory to be had, but there was the faintest degree of encouragement from a most unlikely source.
Dismissing it as a "callow portrait of four friends on the cusp of manhood,"
The New York Times'
Ben Brantley nevertheless strives to be truly constructive in his criticism, as if afraid to hurt the feelings of the youthful writers and cast: "[T]he production manages to seem fresh and seriously stale at the same time.... So there are sweet-sounding, wandering pop ballads steeped in premature nostalgia.... Unfortunately, they also avoid creating individually shaped personalities -- I mean, as defined by more than bulging biceps or long hair -- that register big onstage. This may be appropriate for characters who have yet to figure out who they really are. But such blurriness rarely makes compelling theater. And the music captures the particular, poignant bond among these young men only in a couple of charming, wistful, close-harmony numbers."
Charitably offering that the musical's "creators show promise, but it's still a mystery why the play was rushed in,"
Joe Dziemianowicz of New York's
Daily News provides a one star (out of five) review: "The barely-there, cliched plot is about four high-school friends returning to the football stadium a year after graduation for a one-night reunion to catch up on each other's lives.... Blaemire has spent too much time listening to
Rent and boy-band harmonies - and his lyrics lack focus.... Director Eric Schaeffer ... needed to do more nurturing."
Labeling it a "self-indulgent hymn to the problems of early post-adolescence,"
New York Post's
Clive Barnes pointedly critiques with just one half star: "The music is difficult to describe and utterly unmemorable (it certainly has nothing to do with Bruce Springsteen's hit of the same name), and the lyrics are jejune.... The performances by Steven Booth, Andrew C. Call, Adam Halpin and Jesse JP Johnson are high-spirited and, for the first five minutes, engaging. But it wasn't long before I found myself wishing that they would turn on the sprinklers and let us go home to read a good book."
Lamenting "the less common case of too much, too soon,"
Linda Winer of
Newsday gently pans: "As a grown-up offering in a Broadway house (not to mention at Broadway prices), this little-show-that-can't is so far in over its sweet head that we fear for its safety.... The songs are pleasant; the orchestration tinny. The better folk-rock sounds suggest James Taylor. The lyrics experiment with squeezing a lot of words into a phrase and then a little into a phrase, and lean on the dubious allure of forced rhymes -- team/mean, change/pain.... Will, who keeps a journal, leaves us with the promise to write "my next story." Perhaps producers should have waited for that one."
Writing that one "immature self-indulgence" slipped through the Broadway,
Variety's
David Rooney gives this a failing grade: "The producers have done an extreme disservice to the inexperienced creative team by shoving them into the spotlight with what's likely to be a commercial embarrassment. While it doesn't have much spark, the show will probably hold some charm for anyone still immersed in the adolescent experience and could find admirers in youth theater or school productions.... [T]his show barely skims the surface.... [T]he awkwardly inarticulate lyrics just string together platitudes about formative memories, bonding experiences, feeling at home and fearing change, but it's nostalgia without the wisdom of hindsight."
Concluding that "This seems odd to say about a Broadway debut, but perhaps it will be all uphill from here,"
Eric Grode of
The New York Sun rounds out the F-grades: "It is not generally my policy to blame the producers for a musical as tedious and inconsequential as
Glory Days, which contrives to reunite four former little men on campus a year after high school graduation for a night of cheap beer and even cheaper insights.... Not many writers in their early 20s would turn down an offer to come to Broadway on the grounds that their material wasn’t remotely ready yet. That’s the job of more seasoned veterans, such as Mr. Schaeffer or the producers.... I like to think that the glory days for Messrs. Blaemire and Gardiner, and their collaborators, still lie ahead of them."
So there you have it folks. Looks like my own
SOB Review may have been among the more charitable out there. With and the fact that this show has been struggling for any life at the box office -- last week barely registering with 21.8% capacity -- can this show even survive the week? My guess is it that the only
Glory Days for this show were last night.
This is Steve On Broadway (SOB).
Click here for tickets.Related Stories:Glory Days (The SOB Review) (May 7, 2008)
Opening: Glory Days Hopes For Glory Night (May 6, 2008)
Early Tony Handicapping (March 25, 2008)
No Glory In Crap Shoot (March 24, 2008)
Glory Days Yet To Come This Broadway Season? (March 19, 2008)
Labels: Adam Halpin, Andrew C. Call, Broadway, Critics' Capsule, Eric Schaeffer, Glory Days, James W. Gardiner, Jesse J.P. Johnson, Musical, Nick Blaemire, Steven Booth, Transfer, Washington DC
Glory Days (The SOB Review) – Circle In The Square, New York, NY
*1/2 (out of ****)Why
is youth wasted on the young?
With all due respect to
George Bernard Shaw, in
Glory Days -- a subpar, threadbare 90-minute performance that dares to call itself a Broadway musical and opened last evening at Rialto's intimate
Circle In The Square Theatre -- the answer doesn’t come easy.
But what is clear is that
Glory Days comes across as not even quite half-finished, perhaps -- and I’m giving creators
James W. Gardiner and
Nick Blaemire a huge benefit of the doubt here -- serving as an apt metaphor for the fact that those barely one year out of high school have hardly begun to live, yet are too immature to realize it.
Coming off like a poor man's
Altar Boyz -- if only it were half as smart or as tuneful (where is
Ken Davenport when we need him?) -- and including two alums from that show's national tour,
Glory Days concerns four buddies who reunite after their first year away at college. Although the sexually ambiguous Will (
Steven Booth) and the stereotypically dimwitted, muscle-bound Andy (
Andrew C. Call) have kept their friendship in high gear (or not) by rooming together at college, they're looking forward to corralling their other pals Skip (
Adam Halpin) and Jack (
Jesse J.P. Johnson) into a silly scheme to somehow get back at the school that had done them wrong.
While Skip initially tries to be the voice of reason, he quickly acquiesces when reminded of how they never made their high school football team and how "being different" was the initial impetus behind their friendship. However, despite being continually told how "different" they are, the term is never defined.
We seem to be able to rule out what “being different” is not: the prospect that they're all gay, which is where I assumed this was all headed. As it turns out, Jack comes out to his chums via "The Open Road" -- one of the few memorable tunes during the show -- and instead of delving deeper into who the other three characters are, the rest of the heavy-handed plot gets caught up in how well the other three deal with the news. You'd think they were fresh out of the class of '69!
And while they think nothing of derogatorily calling each other "gay," the thoughtless toss off of the three letter "F" word threatens to implode this less than fab four. Rather than resolve the situation, three of our boys walk off, leaving a determined Will to tell "My Next Story."
End of show. Curtain call. Say what?!
What is particularly irritating for anyone over 30 (or possibly even 25) seeing this show is the implicit premise that high school could in any measurable way be deemed the glory days of any sane life. And for the tens of millions of us who were never the “cool kids,” the end of high school could only have been considered liberating and an opportunity to start fresh and make new friends, whether in college or directly in the adult world where anonymity comes much more readily.
Even under the usually reliable direction of DC's wunderkind
Eric D. Schaeffer, this is not the type of show that should have so easily or quickly been catapulted directly to the Broadway spotlight from a regional theatre. The show could easily have been mounted by an Off Off-Broadway house and attracted an appropriate youthful audience it's clearly targeting without having the audacity to charge $100 or more per ticket.
Sorry folks, but where's the glory in that?
This is Steve On Broadway (SOB).
Click here for tickets.Related Stories:Opening: Glory Days Hopes For Glory Night (May 6, 2008)
Early Tony Handicapping (March 25, 2008)
No Glory In Crap Shoot (March 24, 2008)
Glory Days Yet To Come This Broadway Season? (March 19, 2008)
Labels: Adam Halpin, Andrew C. Call, Broadway, Eric Schaeffer, Glory Days, James W. Gardiner, Jesse J.P. Johnson, Musical, Nick Blaemire, Steven Booth, The SOB Review, Transfer, Washington DC
Opening: Glory Days Hopes For Glory NightGlory Days -- the smallest and final new musical to open during Broadway's 2007-08 Theatrical Season -- gets its 90 minutes of glory this evening at Rialto's
Circle In The Square Theatre.
With book by
James W. Gardiner and score by
Nick Blaemire, the little tuner is
about the unlikeliest of all Great White Way contenders this year. Helmed by acclaimed DC director
Eric D. Schaeffer from the area's
Signature Theatre, this transfer stars
Steven Booth,
Andrew C. Call,
Adam Halpin and
Jesse J.P. Johnson. All the young actors originated their roles in the Signature production, and with the exception of Call, each is making his Broadway debut.
Will the critics be heaping generous helpings of glory on what
The New York Times 's
Campbell Robertson has described as "the nethermost dog of all," or will its days be numbered?
Tune in tomorrow as I provide my critics' capsule, along with my own SOB Review.
This is Steve On Broadway (SOB).
Click here for tickets.Related Stories:Early Tony Handicapping (March 25, 2008)
No Glory In Crap Shoot (March 24, 2008)
Glory Days Yet To Come This Broadway Season? (March 19, 2008)
Labels: Adam Halpin, Andrew C. Call, Broadway, Eric Schaeffer, Glory Days, James W. Gardiner, Jesse J.P. Johnson, Musical, Nick Blaemire, Opening Night, Steven Booth, Transfer, Washington DC
ModFab Helps Kiss The World Better
Over the weekend, I caught one of the press previews of
Glory Days, and who should I see in the audience (other than critics) but none other than the fabulous Gabriel of
Modern Fabulousity.
OK, truth be told, I was a full-fare paying audience member who just happened to attend along with the media. Also, Gabriel and I knew we'd both be in the same audience ahead of time, but it's fun thinking we would have just happened upon each other.
While I'll wait until Wednesday to provide my SOB Review on the smallest of Broadway musicals to come along in a very, very long time, it was an enormous pleasure meeting this larger than life blogger, who has an immense heart and truly amazing insights into that entertainment form I love so much: live theatre. No wonder he calls his regularly recurring column "
Stage Addiction."
If ModFab tells us something about the stage, you had better believe that I'll never doubt his word about it ever again.
Here's to you, Gabriel. Always a pleasure meeting another face behind the blog!
This is Steve On Broadway (SOB).
Labels: Blogs, Glory Days, Modern Fabulousity
Early Tony Handi-cappingTwo of Steve On Broadway's favorite "Must Read" blogs --
Full Force Theatre Musings and
ModernFabulousity -- have already begun handicapping the 2008 Tony Awards.
FFTM's CaraJoy, of course, first posted her mid-season musings
in 2007 and
last mentioned her early betting in January.
Last week, ModFab's Gabriel began
his discussion on plays and revivals of plays and
continues it today with the betting on musicals, new and otherwise.
ModFab picked up on
a comment I made last week in posting the news (
now confirmed) that
Glory Days would be heading to Broadway from the DC Area's
Signature Theatre (not to be confused with the Off-Broadway
Signature on West 42nd Street). I said that given the Main Stem's "disappointing big musicals" (
read: critical drubbing of both
Young Frankenstein and
The Little Mermaid), "this is quickly becoming the year of the little musical with oversized hearts." ModFab was quick -- and right -- to point out that two "big" tuners,
Cry-Baby and
A Catered Affair, have yet to open.
While I would never want to count either one out, let's just say that how ever fair or unfair, the initial buzz I've been hearing on
Cry-Baby is not terribly favorable, and
A Catered Affair is further challenged both by the
stinging tryout review by
The Los Angeles Times 's Charles McNulty and the subsequent
kerfuffle, as well as the initial capitalization necessary for the Broadway incarnation.
Personally, I have high hopes for both.
As a big fan of
John Waters, I'm champing at the bit to see if
Cry-Baby can replicate some modicum of
Hairspray's universal success. I'm also rooting for
Harvey Fierstein and know that
he's pouring every last ounce of energy into making
A Catered Affair a complete delight. I hope both succeed.
While I agree wholeheartedly with ModFab that inevitably, the Tony focus turns to what shows can sell tickets on tour, if either of these shows is torpedoed by bad reviews, the Tony race just may become one big Cinderella story for this year's little shows. But I'm prepared to withhold my glass slipper fitting until
Cry-Baby and
A Catered Affair have had the opportunity to open.
This is Steve On Broadway (SOB).
Related Stories:Glory Days Yet To Come This Broadway Season? (March 19, 2008)
Heights Opens: Did Critics Offer High Marks? (March 10, 2008)
Did Critics Provide Passing Grades To Passing Strange? (February 29, 2008)
Did Little Mermaid Find Its Legs Among Critics? (January 11, 2008)
Did Critics Think Young Frankenstein Was Putzin' On The Shtick? (November 8, 2007)
Did Critics Offer Xana-Dos Or Don'ts? (July 11, 2007)
Labels: A Catered Affair, Blogs, Broadway, Cry-Baby, Full Force Theatre Musings, Glory Days, Modern Fabulousity, Musical, The Little Mermaid, Tony Awards, Tony Nominations, Young Frankenstein
No Glory In Crap ShootFirst things first.
Glory Days is most definitely coming to Broadway.
How do I know? Because I just received an e-mail message from
Broadway.com inviting me to get tickets in its one-week pre-sale.
Now, here's the rub. To get your tickets, you need to provide your credit card information and make the purchase
without knowing where your seats are. In other words, it's a free for all, except it ain't free. Although it states that tickets are $97.50 up front, it ends up costing $121.50 a pop.
As a rule, I
never buy tickets unless I know where I'll be seated. After inserting my credit card information, I clicked the little "proceed" button and next thing I knew, without any warning, I had a transaction in progress. Next thing that popped up on my screen said:
You will receive your confirmed seat locations by e-mail within one business day. If for some reason we cannot fill your request, we will send you a courtesy e-mail to follow up.
I would have preferred the
courtesy of knowing that the last of many "proceeds" actually meant "purchase."
Is this any way to sell tickets??
This is Steve On Broadway (SOB).
Click here for Glory Days pre-sale.
Related Stories:Glory Days Yet To Come This Broadway Season? (March 19, 2008)
Labels: Broadway, Eric Schaeffer, Glory Days, Musical, Signature Theatre, Tickets, Transfer, Washington DC
Glory Days Yet To Come This Broadway Season?Word is that the Washington DC-area
Signature Theatre is "aiming" for its first-ever transfer to Broadway.
Earlier this year, Signature's artistic director and founder
Eric Schaeffer helmed
Glory Days, a little musical by real-life buds Nick Blamiere and James Gardiner about four friends' experience one year beyond high school.
Now, barely a month after its one-month world premiere Signature engagement concluded,
Glory Days could be resurrected for a Broadway berth at the
Circle in the Square just in time for the final days of the 2007-08 Theatrical Season and possible contention in the Tonys.
Clearly proud of the young talent behind the show, Schaeffer affectionately wrote
this about the musical:
Broadway is overcrowded with movie and book adaptations, with barely an original musical in sight. I am proud of Signature's commitment and support of new works and young writers. Too often in today's world of theater, few are given the chance — or the encouragement -- to find their own voices. I am proud to have encouraged and inspired the talent you will be witnessing.
So tonight, enjoy these fresh, new voices as we keep original theater alive. I could not be more proud of the exciting work that has been produced on the Signature stages this season.
So now in a season originally hamstrung by disappointing big musicals, it turns out that with
Xanadu,
Passing Strange,
In The Heights and now
Glory Days, this is quickly becoming the year of the little musical with oversized hearts. And for three out of four to be completely original, suddenly creativity is alive and well
and welcome once more.
This is Steve On Broadway (SOB).
Labels: Broadway, Eric Schaeffer, First Word On New Show, Glory Days, Musical, Transfer, Washington DC
