Steve On Broadway (SOB)

SOB's Theatrical Firsts Of The Noughties: My First Time On A Broadway Stage

SOB's Theatrical Firsts Of The Noughties: My First Time On A Broadway Stage

Over the course of the last decade, I’ve been truly fortunate to enjoy a number of enlightening firsts in my personal theatergoing that have only served to increase my deep and abiding love for the art form known as live theatre. What follows is one of my ten favorite experiences of the last ten years.

Although I have never had any designs on being an actor, I always wondered what the theatre looked like from on stage. If you read this previous post, you'll know that my first time on the Gershwin stage was compliments of one of Wicked’s cast members.

But my first time ever to set foot on a Broadway stage came about in 2006. Two of my best friends in the entire world happen to be friends with lyricist Chad Beguelin, whom I met when he was putting the finishing touches on the book and score for his first Rialto effort, The Wedding Singer.

After the musical debuted on Broadway, we went to see the show at the Al Hirschfeld Theatre. Chad offered to meet us immediately after the performance. Although the show received mixed reviews, we all had a great time, which was a bit of a relief as I’m not particularly good at lying about whether I’ve enjoyed a show. Fortunately, I didn’t need to.

So when we met up with Chad, we gave him our thumbs-up. In turn, he gave us a backstage tour, introducing us to the show’s star: Stephen Lynch, as well as taking us onto the stage itself.

I couldn’t get over how much smaller everything seemed up close and personal. I found myself thinking, “Ah, the magic of theatre.” Perhaps even more thrilling than being backstage was being greeted by the throngs of fans lined up at the stage door. They certainly had no clue who I was, but it was fun seeing them try to guess.

Since then, I’ve been invited backstage at three other Broadway venues.

As noted earlier, I have been on Wicked’s stage at the Gershwin.

Additionally, just one year ago as Harvey Fierstein was reprising his turn as Edna Turnblad in Hairspray at the Neil Simon, he personally provided me a rare opportunity to join him backstage. When he escorted us through the stage door into the theatre, little did I know I would be stepping directly onto the Neil Simon stage.

Then, this past summer, one of Billy Elliot’s Tony winning actors graciously invited us to join him for a wonderful backstage tour in which he divulged many of the shows design secrets. That tour was capped off with an introduction to the musical’s Tony-winning director, Stephen Daldry.

How many other Broadway stages will I someday find myself on? To be honest, what’s more important to me is cherishing each of my once-in-a-lifetime experiences I've already enjoyed in “treading the boards” of Broadway. Speaking of which, I made an unanticipated return to that Al Hirschfeld stage earlier this year, but that return deserves a post all its own.

This is Steve On Broadway (SOB).

In keeping with the new 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 all performances above.

Labels: Al Hirschfeld Theatre, Billy Elliot The Musical, Broadway, Chad Beguelin, Gershwin Theatre, Hairspray, Harvey Fierstein, Imperial Theatre, Neil Simon Theatre, Stephen Daldry, The Wedding Singer, Wicked

posted by Steve On Broadway (SOB) @ Thursday, December 17, 2009 4 comments

Going, Going, Going, Going, Going, Going, Going, Going, Going...Gone!

Going, Going, Going, Going, Going, Going, Going, Going, Going...Gone!

Charles Isherwood's downright nostalgic piece in this morning's edition of The New York Times serves as an excellent reminder that today's your last chance to see nine of the thirteen Broadway shows slated to close during January 2009.

Boeing-Boeing. Going. But a 45-week national tour is planned for take-off sometime this year.

Dividing The Estate. Going. But subtracting Elizabeth Ashley from the cast, the ensemble will transfer to the Hartford Stage in Connecticut come May.

Grease. Going. But the ongoing North American tour with Taylor Hicks as Teen Angel is about to play Chicago's Auditorium Theatre.

Hairspray. Going. But the Award-winning London staging is going strong. Oh, and there's the sticky non-Equity tour that's about to play such markets as Terre Haute (IN), Kalamazoo (MI) and Wabash (IN) for one nights only, but it does not share the Broadway credits (including direction, choreography or elaborate set designs) or talent.

Irving Berlin's White Christmas. Going. But producer Kevin McCollum "would love to bring the show back to Broadway" in the future, and the show will continue to live on during future holiday seasons throughout North America.

Liza's At The Palace...! Going. What?! You expected more?! After two extensions??

Slava's Snowshow. Going.

13. Going. But there's "much interest in a national and international tour," according to lead producer Bob Boyett.

Young Frankenstein. Going. But a tour is planned for this fall.

This is Steve On Broadway (SOB).

Labels: 13, Boeing-Boeing, Broadway, Closings, Dividing The Estate, Grease, Hairspray, Liza's At The Palace, Slava's Snowshow, White Christmas, Young Frankenstein

posted by Steve On Broadway (SOB) @ Sunday, January 04, 2009 5 comments

Hairspray (The SOB Revisit)

Hairspray (The SOB Revisit) - Neil Simon Theatre, New York, New York

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

The last time I saw the 2003 Tony Award-winning Best Musical Hairspray with Harvey Fierstein, it was during its pre-Broadway tryout in Seattle.

When I learned that the Tony-winning actor would return to the role of Edna Turnblad before the show ended its six and a half year Rialto run, I immediately rushed to purchase tickets to see him one more time. Am I ever glad I did.

Just days before his Tony-winning co-star Marissa Jaret Winokur returned to reprise her turn as Tracy Turnblad, I revisited Marc Shaiman and Scott Wittman's buoyant tuner. After having seen the more recent film version, it's easy to forget that Mark O'Donnell and Thomas Meehan provided a slyly funny and slightly subversive book to tell the story of the coming of age, both for a wide-eyed innocent high school girl and the civil rights movement in Baltimore. Hands-down, the stage version of Hairspray is eminently better than the watered-down (and I don't mean John Waters) movie. And as wonderful as the dancing was in the film, you simply can't stop the beat of Jerry Mitchell's effervescent choreography live on stage.

While I have no doubt that current audiences are now eating up every moment that the original musical's Tracy and Edna are offering (and that includes Fierstein's extraordinarily funny, ribald ad-libbing), Marissa Perry as Tracy was exceptional. Current castmembers Constantine Rousouli and Tevin Campbell also rise to the dizzying heights of the material with the former providing a pitch-perfect, swoon-inducing Link Larkin, while the latter as Seaweed J. Stubbs is nothing short of a revelation.

Hairspray may soon be closing, but with one dream about to be realized just a couple weeks later via Barack Obama's inauguration, it's Charlotte Crossley's stirring, heartfelt rendition of "I Know Where I've Been" that proves an even more moving, more poignant tribute to those who have been lost along the way than Messrs. Shaiman and Wittman could have possibly anticipated.

Like that soulful tune, Hairspray still has the capacity to lift us up until tomorrow.

This is Steve On Broadway (SOB).

Labels: Broadway, Charlotte Crossley, Constantine Rousouli, Hairspray, Harvey Fierstein, Marc Shaiman, Marissa Jaret Winokur, Marissa Perry, Musical, Scott Wittman, Tevin Campbell, The SOB Revisit

posted by Steve On Broadway (SOB) @ Tuesday, December 30, 2008 1 comments

Hairspray's Closing: Run And Tell That!

Hairspray's Closing: Run And Tell That!

It may be anti-climactic, but it is official!

The Tony Award-winning Best Musical of 2003 -- Hairspray -- will close on January 4, 2009. But it won't be before the show's original Edna Turnblad enjoys one final victory romp across the boards of the Neil Simon Theatre.

To date, the tuner has grossed over $265 million on Broadway alone. That's about 40 times the U.S. gross of the original John Waters film from 1988 and more than double the U.S. gross of last year's movie musical.

Fortunately, the show won't close before welcoming back Harvey Fierstein, who will reprise his Tony-winning turn as Edna one more time.

And you know what? I've already purchased my tickets to do my part to send the show off in style. Here's my little secret -- I have not seen Fierstein perform in the show since taking in the Seattle tryouts back in the summer of 2002, so my upcoming visit will mark my first time ever in the Neil Simon Theatre.

I'd say it's about time, wouldn't you?

This is Steve On Broadway (SOB).

Labels: Broadway, Closing Notices, Grosses, Hairspray, Harvey Fierstein, John Waters

posted by Steve On Broadway (SOB) @ Wednesday, October 22, 2008 1 comments

Hairspray: You Can Stop The Beat?

Hairspray: You Can Stop The Beat?

You know those bells Hairspray's Tracy Turnblad has heard since the show made its Broadway debut in July 2002? Well, an appropriate question may now be "For whom the bells toll?"

According to Playbill, Hairspray :

...is expected to close in mid-January 2009, but not before welcoming back the Mother of All Ednas -- Harvey Fierstein.

With an unidentified spokesperson from the show characterizing the announcement for shuttering of Hairspray as "imminent," could it be that the economic tea leaves are suggesting that this will be one long, cold winter at the box office?

Recent grosses for the six year old Tony-winning Best Musical of 2003 are not bad, but they're not necessarily great, either. For the past three weeks, the tuner has attracted a capacity crowd in the 60% range. However, if you look at the average ticket price -- which this past week was $57.20 -- it's clear that advance sales are down to the point they're sending an awful lot of seats over to TKTS. With all the news about the economy, theatregoers are likely to be more selective about the shows they see and may not readily return to those they've already taken in.

Giving Hairspray a royal send-off with Fierstein reprising his Edna will most definitely put the lilt back in the musical. Personally, I'd love to see them bring back Marissa Jaret Winokur as Tracy for one last hurrah as well. Those visions of Fierstein and Winokur together are, ahem, timeless to me.

This is Steve On Broadway (SOB).

Labels: Box Office, Broadway, Hairspray, Harvey Fierstein, Marissa Jaret Winokur, Musical, Rumor

posted by Steve On Broadway (SOB) @ Friday, October 03, 2008 1 comments

In The Pursuit Of (Theatrical) Happiness

In The Pursuit Of (Theatrical) Happiness

In observance of this, the 232nd birthday for the United States of America, I'm taking this national holiday off.

But if you're in New York and feeling particularly patriotic, yet still wish to see a great Broadway show, here are my picks for the shows that will make you proud to be an American:

In The Heights - What could be better than a Tony-winning Best Musical that celebrates the incredible melting pot that is America? And with its first act showstopping number "The Club/Fireworks" that specifically celebrates Independence Day, this is a quintessential American musical. (Ironically, this show is dark on July 4, but it's open for business the rest of the holiday weekend.)

August: Osage County - Finally, a contemporary American play that's both a critical and commercial success. And Time magazine's top play of the past year. And a Pulitzer Prize winner. And the winner of the Tony for Best Play. Playwright Tracy Letts summed it up best in his acceptance speech by noting wryly about its producers, "They did an amazing thing. They decided to produce an American play on Broadway with theatre actors." Amen. (The July 4 performance begins at 7:30 p.m. EDT.)

Hairspray - John Waters' 2003 Tony Award-winning Best Musical remains, in essence, a glorious paean to the American spirit and ability to right itself. Despite its 1962 setting, it remains a hopeful show for our nation's very future. (The July 4 performance begins at 3:00 p.m. EDT.)

South Pacific - As we continue to lose the last of our "greatest generation," this gorgeous Tony Award-winning Best Revival of a Musical reminds us why these heroic men and women are held in such high esteem historically. This ultimate All-American Rodgers and Hammerstein tuner may just make you want to stand up and cheer. (The July 4 performance begins at 8:00 p.m. EDT.)

Thurgood - There's one Broadway show that not only honors one of the 20th Century's most important patriots, but it serves as an excellent history lesson, too. This riveting one-man show respects the achievements of our nation's first African-American Supreme Court Justice and his enormous contributions toward racial equality and the pursuit of happiness for all Americans. (The July 4 performance begins at 8:00 p.m. EDT.)

Happy Independence Day!

This is Steve On Broadway (SOB).

Labels: August Osage County, Broadway, Hairspray, In The Heights, Independence Day, South Pacific, Special Messages, Thurgood

posted by Steve On Broadway (SOB) @ Friday, July 04, 2008 2 comments

36 Down, 3 To Go

36 Down, 3 To Go

Last week, Chris Caggiano over at Everything I Know I Learned From Musicals was musing about how he'd finally get inside Broadway's Lyceum Theatre now that [title of show] is headed there this summer. He mentioned how that would leave just three Rialto theatres in which he's never stepped foot.

His post got me to pondering whether I've been in all 39 Broadway theatres that are currently functioning, and like the geek I am, I systematically went through the Internet Broadway Database's encyclopedic history on each venue and discovered that I've now been in all but three myself. And those three might actually surprise you.

First, the theatre housing Broadway's all-time longest running show is the Majestic Theatre. Is it heresy for someone purporting to be "Steve On Broadway" to admit he's never actually seen The Phantom Of The Opera on the Great White Way? Sure, the show's been running for 20 long years, but since I first caught the London production about the time the Main Stem incarnation was first being performed, I didn't feel compelled to go to see it at the Majestic. Oh sure, I've seen it again -- thanks to freebie tickets 10 years ago in Los Angeles, and then again for kicks and giggles just last year in the truncated Phantom - The Las Vegas Spectacular -- but suffice it to say that as long as The Phantom Of The Opera is playing the Majestic, I won't be going there.

Second is the Nederlander Theatre, home to the musical Rent since 1996. I've seen Jonathan Larson's landmark tuner twice, just never in New York. In fact, the first time I saw it was when the first touring company swung through Boston during the winter of 1996-97, and I saw it again in St. Paul in 2000. Unlike Phantom, I actually enjoyed this profoundly moving show, and I had even considered (at the last minute) to get tix for the Broadway version when Adam Pascal and Anthony Rapp reprised their turns as Roger and Marc, respectively, just last year. But alas, the show was sold out the first time I tried and only had back row seating available the next. With the departure of Rent from the Nederlander now imminent, coming in September, I suspect that I'll finally get into that theatre sometime in the next year.

Finally, I have never been to the Neil Simon Theatre, host to current occupant Hairspray since 2002. Through a little bit of serendipity, I actually saw and loved Hairspray with its original cast, but it was when I was passing through Seattle during its tryout performances there. And I also enjoyed seeing the first touring production when it passed through Minneapolis. While its current cast is appealing, I am probably not inclined to go see it, saving my theatregoing dollars for other shows.

So which theatre have I been to the most? That distinction goes to what is arguably Broadway's worst venue: the Booth Theatre. Always one for prestige productions, I've been going there since 1992 when the acclaimed revival of The Most Happy Fella enjoyed a 229 performance run. Almost in spite of how lousy this theatre itself is, including some of the least desirable seating (read: tightly crammed), some of my best Broadway memories came from this house, where visions of Paul Newman, Dame Edna, Vanessa Redgrave and others still dance in my mind. And I'm absolutely looking forward to returning next month to see Laurence Fishburne in Thurgood. I'm just not looking forward to being uncomfortable.

Finally, my very first Broadway theatre ever was none other than the Winter Garden where I caught Cats near the beginning of its 18 year run. Fortunately, as much as I disliked that show, it has not deterred me from coming back to the Great White Way for performance after performance.

I just wonder how many more years it will take for me to check the Majestic off my list....

This is Steve On Broadway (SOB).

Labels: Broadway, Broadway Venues, Everything I Know I Learned From Musicals, Hairspray, Musical, Rent, The Phantom Of The Opera, title of show

posted by Steve On Broadway (SOB) @ Saturday, April 12, 2008 19 comments

Hairspray Gels With Olivier Voters

Hairspray Gels With Olivier Voters

While Hairspray was this year's most celebrated product on London's West End -- earning three of the Laurence Olivier honors for acting, along with the top musical prize -- two classics (Macbeth and Saint Joan) and a new War Horse were among the big winners at last night's "glamorous ceremony" at London's Grosvenor House Hotel.

Named for the iconic actor who was arguably the greatest actor of the 20th Century, the Oliviers rank as the most prestigious award bestowed on London's theatre community, as well as for dance and opera.

William Shakespeare's Macbeth revival was feted for Rupert Goold's bloody-good direction and Howard Harrison's lighting design, yet it lost out to Saint Joan for Best Revival honors. The latter also won for the sound design by Paul Arditti and Jocelyn Pook.

Additionally, the Indian-themed Rafta Rafta earned the Olivier for Best New Comedy, while Simon McBurney's A Disappearing Number took home a Larry for Best New Play.

Meanwhile, War Horse trotted off with awards for Toby Sedgewick's choreography and the set design by Rae Smith and Handspring Puppet Company.

The full list of nominees are below with winners highlighted in red:

Best Actress
Anne-Marie Duff, Saint Joan
Kelly Reilly, Othello
Kristin Scott Thomas, The Seagull
Fiona Shaw, Happy Days
Penelope Wilton, John Gabriel Borkman

Best Actor
Chiwetel Ejiofor, Othello
Ian McKellen, King Lear
Mark Rylance, Boeing-Boeing
John Simm, Elling
Patrick Stewart, Macbeth

Best Performance In A Supporting Role
Michelle Fairley, Othello
Pam Ferris, The Entertainer
Conleth Hill, The Philistines
Rory Kinnear, The Man Of Ode

Best Newcomer In A Play*
David Dawson, The Life And Adventures Of Nicholas Nickleby
Tom Hiddleston, Cymbeline
Tom Hiddleston, Othello
Stephen Wight, Dealer's Choice

Best New Play
Simon McBurney, A Disappearing Number
Nicholas Wright, The Reporter
DBC Pierre (Adaptation by Tanya Ronder), Vernon God Little
Michael Morpurgo (Adaptation by Nick Stafford), War Horse

Best New Comedy
Michael Frayn, Absurdia: The Crimson Hotel
Axel Hellstenius' stage adaptation in collaboration with Peter Næss, translated by Nicholas Norris, adapted by Simon Bent (based on a novel by Ingvar Ambjørnsen), Elling
Ayub Khan-Din (based on "All In Good Time" by Bill Naughton), Rafta Rafta
Steve Thompson, Whipping It Up

Best Revival
Marc Camoletti, translated by Beverley Cross, Boeing-Boeing
Patrick Marber, Dealer's Choice
William Shakespeare, Macbeth
Bernard Shaw, Saint Joan
Anton Chekhov, in a version by Christopher Hampton, The Seagull

Best New Musical
Music and lyrics by Lisa Lambert and Greg Morrison, book by Bob Martin and Don McKellar, The Drowsy Chaperone
Music by Marc Shaiman, lyrics by Scott Wittman and Marc Shaiman, book by Mark O'Donnell and Thomas Meehan, Hairspray
Music by AR Rahman, Värttinä with Christopher Nightingale, book and lyrics by Shauna McKenna and Matthew Warchus, The Lord Of The Rings
Music and lyrics by Jason Robert Brown, book by Alfred Uhry, co-conceived by Harold Prince, Parade

Best Musical Revival
Music by Jerry Bock, lyrics by Sheldon Harnick, book by Joseph Stein, Fiddler On THe Roof
Music by Alan Menken, book and lyrics by Howard Ashman, Little Shop Of Horrors
Music and words by Mandisi Dyantyis, Mbali Kgosidintsi, Pauline Malefane and Nolufefe Mtshabe, adapted from Mozart by Mark Dornford-May, The Magic Flute - Impempe Yomlingo

Best Actress In A Musical
Leanne Jones, Hairspray
Lara Pulver, Parade
Sheridan Smith, Little Shop Of Horrors
Summer Strallen, The Drowsy Chaperone

Best Actor In A Musical
Michael Ball, Hairspray
Bertie Carvel, Parade
Henry Goodman, Fiddler On The Roof
Bob Martin, The Drowsy Chaperone

Best Performance In A Supporting Role In A Musical
Tracie Bennett, Hairspray
Elinor Collett, Hairspray
Shaun Escoffery, Parade
Alistair McGowan, Little Shop Of Horrors

Best Director
Rob Ashford, Parade
Marianne Elliott and Tom Morris, War Horse
Rupert Goold, MacBeth
Jack O’Brien, Hairspray

Best Theatre Choreographer
Rob Ashford, Parade
Jerry Mitchell, Hairspray
Casey Nicholaw, The Drowsy Chaperone
Toby Sedgwick, War Horse

Best Lighting Design
Kenneth Posner, Hairspray
Paul Pyant, The Lord Of The Rings
Howard Harrison, Macbeth
Paule Constable, War Horse

Best Set Design
David Rockwell, Hairspray
Rob Howell, The Lord Of The Rings
Anthony Ward and Lorna Heavey, MacBeth
Rae Smith and Handspring Puppet Company, War Horse

Best Costume Design
Gregg Barnes, The Drowsy Chaperone
William Ivey Long, Hairspray
Rob Howell, The Lord Of The Rings
Vicki Mortimer, The Man Of Mode

Best Sound Design
Steve C. Kennedy, Hairspray
Simon Baker, The Lord Of The Rings
Terry Jardine and Nick Lidster for Autograph, Parade
Paul Arditti with music by Jocelyn Pook, Saint Joan
Christopher Shutt with music by Adrian Sutton and John Tams, War Horse

Outstanding Achievement In An Affiliate Theatre
The Brothers Size at the Maria, Young Vic
Cinderella at Theatre Royal, Stratford East
Gone Too Far at the Jerwood Theatre Upstairs at the Royal Court
The cast of That Face at the Jerwood Theatre Upstairs at the Royal Court

Best New Opera Production
English National Opera’s Agrippina at the London Coliseum
The Royal Opera’s La Fille Du Regiment at the Royal Opera House
The Royal Opera’s Pelléas et Mélisande at the Royal Opera House
English National Opera’s Turn Of The Screw at the London Coliseum

Outstanding Achievement In Opera
Natalie Dessay (performance), La Fille Du Regiment
Gerald Finley (performance), Pelleas Et Melisande
Angelika Kirchschlager (performance), Pelleas Et Melisande
David McVicar (direction), Turn Of The Screw and Agrippina

Best New Dance Production
Fabulous Beast Dance’s The Bull at the Barbican
The Royal Ballet’s Jewels at the Royal Opera House
Mark Morris Dance Group’s Mozart Dances at the Barbican
Northern Ballet Theatre’s The Three Musketeers at Sadler’s Wells

Outstanding Achievement In Dance
Savion Glover (performance), Live In London
Jonathan Goddard (performances) with the Richard Alston Dance Company
The Royal Ballet Company (performances), Jewels
Wendy Whelan (performance), The Christopher Wheeldon Company’s Fool's Paradise

While the acclaimed, Olivier Award-winning Macbeth has already been announced for a strictly limited 63 performance Broadway transfer beginning later this month, look for New York producers to mine the success of currently little-known shows like A Disappearing Number, Rafta Rafta and War Horse for possible stateside berths.

This is Steve On Broadway (SOB).

Related Stories:
2008 Laurence Olivier Award Nominations Announced (February 6, 2008)
Sunday At The Grosvenor House With Laurence (February 19, 2007)
Laurence Olivier Award Nominations Announced (January 18, 2007)

Labels: A Disappearing Number, Hairspray, Laurence Olivier, London, Olivier Award Nominations, Olivier Awards, Rafta Rafta, Saint Joan, War Horse, William Shakespeare

posted by Steve On Broadway (SOB) @ Monday, March 10, 2008 2 comments

Show Deals: Breaking The Code

Show Deals: Breaking The Code

So you want to see a show? For less?

Here are some current deals -- and the best part is you don't have to wait in the TKTS line to take advantage of them:

The Show:
Grease (Brooks Atkinson Theatre, Broadway)

The Deal:
Save up to 35% with select select orchestra/front mezzanine seats priced at $71.50 per ticket for performances on Tuesdays, Wednesdays (matinee only), Thursdays, Fridays and Sunday evenings.

The Code:
Click here and use code PLAY or call 212.307.4100 and use same code.

The Fine Print:
Offer valid on select orchestra and front mezzanine locations and subject to availability and prior sale; not valid on prior purchases; cannot be combined with other discounts or promotions. Not valid February 15-17, 2008 and Saturday matinees or evenings or Sunday matinees. This offer can be revoked at any time. Limit 8 tickets per order. No refunds or exchanges. Telephone and Internet orders are subject to standard service fees. All prices include a $1.50 facilities fee. Offer valid through Friday, March 14, 2008.


The Show:
Hairspray (Neil Simon Theatre, Broadway)

The Deal:
Save up to 40% on performances through April 13 with tickets for Tuesdays, Wednesdays and Thursdays priced at $65 (orchestra/front mezzanine) and $55 (mid mezzanine). Tickets for Fridays, Saturdays (matinee only) and Sundays priced at $70 (orchestra/front mezzanine) and $65 (mid mezzanine).

The Code:
Click here and use code TMEB2 or call 212.307.4100 using same code.

The Fine Print:
Offer not valid for Saturday evening performances, February 15-17 or March 20-23. Offer subject to availability and prior sale. Applicable only to specified performance dates and times. Not valid on previously purchased tickets and may not be combined with any other offers. All sales final; no refunds or exchanges. Cast subject to change. Blackout dates may apply. Telephone/Internet orders subject to standard Ticketmaster service fees. Limit 8 tickets per order. Offer may be revoked at any time. Expires April 13, 2008.

The Show:
Is He Dead? (Lyceum Theatre, Broadway)

The Deal:
Save up to 50% off tickets, priced at $55 (orchestra), $45 (mezzanine) and $40 (balcony) for all performances.

The Code:
Click here and use code IHPBX55 or call 212.947.8844 and use same code.

The Fine Print:
All prices include a $1.50 facilities fee. Offer valid on select seat locations through March 16, 2008. Blackout dates may apply. Subject to availability and prior sale. Normal service charges apply to phone and Internet orders. Cannot be combined with any other offers or discounts and not valid on prior purchases. Offer may be revoked or modified at any time without notice. All sales final -- no refunds or exchanges.


The Show:
Rent (Nederlander Theatre, Broadway)

The Deal:
Save up to 50% with orchestra seats priced at $65 and front row mezzanine seats priced at $55.

The Code:
Click here and use code PBILL08 or call 212.307.4100 using same code.

The Fine Print:
Offer valid for all performances except Saturday evenings from February 2, 2008-March 23, 2008. Tickets must be purchased by February 15, 2008. Limit 8 tickets per order. All sales are final -- no refunds or exchanges. Blackout dates may apply. Offer is subject to availability and prior sale. Not valid in combination with any other offers. Offer may be revoked at any time.


The Show:
Sunday In The Park With George (Studio 54, Broadway)

The Deal:
Save 40% on performances through February 20 with tickets priced $22.25-$73.25. Or save 30% on performances for February 22-April 27 with tickets priced at $25.75-$85.25.

The Code:
Click here and use code SPPBOL2 or call 212.719.1300 using same code.

The Fine Print:
Offer valid on select seating for performances through April 27, 2008. Must order by February 21, 2008. This offer cannot be combined with any other discount and is not applicable to previously purchased tickets. Limit six tickets per order. All sales are final. No refunds or exchanges. Offer subject to availability and includes a $1.25 facilities fee. Normal phone and Internet service charges apply. Offer may be modified or revoked at any time without notice.

Enjoy!

This is Steve On Broadway (SOB).

Labels: Broadway, Grease, Hairspray, Is He Dead?, Rent, Special Offers, Sunday In The Park With George, Ticket Prices

posted by Steve On Broadway (SOB) @ Sunday, February 10, 2008 4 comments

2008 Laurence Olivier Award Nominations Announced

2008 Laurence Olivier Award Nominations Announced

While its trans-Atlantic journey seemed to take forever, Hairspray was clearly worth the wait as London's West End incarnation of the Broadway hit earned a record 11 Laurence Olivier Award nominations.

Named for the iconic actor who was arguably the greatest thespian of the 20th Century bar none, the Oliviers rank as the most prestigious award bestowed on London's theatre community, as well as for dance and opera. The nominations for the 2008 Laurence Olivier Awards were announced today and winners will be announced at a March 9 "glamorous ceremony" at the Grosvenor House Hotel.

While the big story is Hairspray, the other noteworthy news is just how well the Bard has fared on the boards of London over the past year. With revivals of his Othello, King Lear, Macbeth and Cymbeline together earning a whopping 11 nominations, William Shakespeare still rules supreme over British theatre.

The other news is that unlike last year, an Olivier Award will be provided in the category of "Best Newcomer In A Play," and what had been billed last year as the "Outstanding Musical Production" becomes "Best Revival of a Musical" this year.

Nominees include:

Best Actress
Anne-Marie Duff, Saint Joan
Kelly Reilly, Othello
Kristin Scott Thomas, The Seagull
Fiona Shaw, Happy Days
Penelope Wilton, John Gabriel Borkman

Best Actor
Chiwetel Ejiofor, Othello
Ian McKellen, King Lear
Mark Rylance, Boeing-Boeing
John Simm, Elling
Patrick Stewart, Macbeth

Best Performance In A Supporting Role
Michelle Fairley, Othello
Pam Ferris, The Entertainer
Conleth Hill, The Philistines
Rory Kinnear, The Man Of Ode

Best Newcomer In A Play*
David Dawson, The Life And Adventures Of Nicholas Nickleby
Tom Hiddleston, Cymbeline
Tom Hiddleston, Othello
Stephen Wight, Dealer's Choice

Best New Play
Simon McBurney, A Disappearing Number
Nicholas Wright, The Reporter
DBC Pierre (Adaptation by Tanya Ronder), Vernon God Little
Michael Morpurgo (Adaptation by Nick Stafford), War Horse

Best New Comedy
Michael Frayn, Absurdia: The Crimson Hotel
Axel Hellstenius' stage adaptation in collaboration with Peter Næss, translated by Nicholas Norris, adapted by Simon Bent (based on a novel by Ingvar Ambjørnsen), Elling
Ayub Khan-Din (based on "All In Good Time" by Bill Naughton), Rafta Rafta
Steve Thompson, Whipping It Up

Best Revival
Marc Camoletti, translated by Beverley Cross, Boeing-Boeing
Patrick Marber, Dealer's Choice
William Shakespeare, Macbeth
Bernard Shaw, Saint Joan
Anton Chekhov, in a version by Christopher Hampton, The Seagull

Best New Musical
Music and lyrics by Lisa Lambert and Greg Morrison, book by Bob Martin and Don McKellar, The Drowsy Chaperone
Music by Marc Shaiman, lyrics by Scott Wittman and Marc Shaiman, book by Mark O'Donnell and Thomas Meehan, Hairspray
Music by AR Rahman, Värttinä with Christopher Nightingale, book and lyrics by Shauna McKenna and Matthew Warchus, The Lord Of The Rings
Music and lyrics by Jason Robert Brown, book by Alfred Uhry, co-conceived by Harold Prince, Parade

Best Musical Revival
Music by Jerry Bock, lyrics by Sheldon Harnick, book by Joseph Stein, Fiddler On THe Roof
Music by Alan Menken, book and lyrics by Howard Ashman, Little Shop Of Horrors
Music and words by Mandisi Dyantyis, Mbali Kgosidintsi, Pauline Malefane and Nolufefe Mtshabe, adapted from Mozart by Mark Dornford-May, The Magic Flute - Impempe Yomlingo

Best Actress In A Musical
Leanne Jones, Hairspray
Lara Pulver, Parade
Sheridan Smith, Little Shop Of Horrors
Summer Strallen, The Drowsy Chaperone

Best Actor In A Musical
Michael Ball, Hairspray
Bertie Carvel, Parade
Henry Goodman, Fiddler On The Roof
Bob Martin, The Drowsy Chaperone

Best Performance In A Supporting Role In A Musical
Tracie Bennett, Hairspray
Elinor Collett, Hairspray
Shaun Escoffery, Parade
Alistair McGowan, Little Shop Of Horrors

Best Director
Rob Ashford, Parade
Marianne Elliott and Tom Morris, War Horse
Rupert Goold, MacBeth
Jack O’Brien, Hairspray

Best Theatre Choreographer
Rob Ashford, Parade
Jerry Mitchell, Hairspray
Casey Nicholaw, The Drowsy Chaperone
Toby Sedgwick, War Horse

Best Lighting Design
Kenneth Posner, Hairspray
Paul Pyant, The Lord Of The Rings
Howard Harrison, Macbeth
Paule Constable, War Horse

Best Set Design
David Rockwell, Hairspray
Rob Howell, The Lord Of The Rings
Anthony Ward and Lorna Heavey, MacBeth
Rae Smith and Handspring Puppet Company, War Horse

Best Costume Design
Gregg Barnes, The Drowsy Chaperone
William Ivey Long, Hairspray
Rob Howell, The Lord Of The Rings
Vicki Mortimer, The Man Of Mode

Best Sound Design
Steve C. Kennedy, Hairspray
Simon Baker, The Lord Of The Rings
Terry Jardine and Nick Lidster for Autograph, Parade
Paul Arditti with music by Jocelyn Pook, Saint Joan
Christopher Shutt with music by Adrian Sutton and John Tams, War Horse

Outstanding Achievement In An Affiliate Theatre
The Brothers Size at the Maria, Young Vic
Cinderella at Theatre Royal, Stratford East
Gone Too Far at the Jerwood Theatre Upstairs at the Royal Court
The cast of That Face at the Jerwood Theatre Upstairs at the Royal Court

Best New Opera Production
English National Opera’s Agrippina at the London Coliseum
The Royal Opera’s La Fille Du Regiment at the Royal Opera House
The Royal Opera’s Pelleas Et Melisande at the Royal Opera House
English National Opera’s Turn Of The Screw at the London Coliseum

Outstanding Achievement In Opera
Natalie Dessay (performance), La Fille Du Regiment
Gerald Finley (performance), Pelleas Et Melisande
Angelika Kirchschlager (performance), Pelleas Et Melisande
David McVicar (direction), Turn Of The Screw and Agrippina

Best New Dance Production
Fabulous Beast Dance’s The Bull at the Barbican
The Royal Ballet’s Jewels at the Royal Opera House
Mark Morris Dance Group’s Mozart Dances at the Barbican
Northern Ballet Theatre’s The Three Musketeers at Sadler’s Wells

Outstanding Achievement In Dance
Savion Glover (performance), Live In London
Jonathan Goddard (performances) with the Richard Alston Dance Company
The Royal Ballet Company (performances), Jewels
Wendy Whelan (performance), The Christopher Wheeldon Company’s Fool's Paradise

Stay tuned one month from now for the full list of winners.

This is Steve On Broadway (SOB).

Related Stories:
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Laurence Olivier Award Nominations Announced (January 18, 2007)

Labels: Hairspray, Laurence Olivier, London, Olivier Award Nominations, Olivier Awards, William Shakespeare

posted by Steve On Broadway (SOB) @ Wednesday, February 06, 2008 4 comments

Touring Productions: What's Fair And Equity

Touring Productions: What's Fair And Equity

Thanks to Google alerts, I get theatre-related news from throughout the United States that I would never get elsewhere.

Take Alabama's The Huntsville Times review of the current touring production of Dirty Rotten Scoundrels, in which critic Jon Busdaker eviscerates the show:

Beware. The box office is swindling hard-earned dollars from people expecting a Broadway-style show.

Keep your money close so you don't accidentally spend it on a ticket, because someone's playing the ol' "bait and switch."

I thought Busdaker was about to blow the lid off the fact that the Dirty Rotten Scoundrels that's currently masquerading as the tour of the Broadway original is not only not directed by the Rialto production's Jack O'Brien, nor choreographed by Jerry Mitchell, but the tour is strictly non-equity and directed instead by Philip Wm. McKinley and choreographed by Vince Pesce.

The bait is advertising the show as the legit progeny of the Broadway original and switching it with a bastardized version that doesn't even have the guts to admit its use anywhere of a non-equity cast.

While the show leaves Huntsville this afternoon for Fort Lauderdale, I see nothing on any of the sites suggesting that this is anything but the real deal. What's more, at the Broward Arts Center, they are still charging $65 for the show's top ticket. Perhaps not much compared with Broadway, but in line with ticket prices for other legitimate Great White Way tour offerings across the country.

As I've cautioned previously with the touring production of Hairspray, it's strictly caveat emptor. Or, if you regularly check Actors Equity's Web site, you can see that the following tours are but pale imitations of the Broadway originals:
Dirty Rotten Scoundrels
Hairspray
The Producers
The Wedding Singer

Dirty and rotten? Absolutely, especially when they con unsuspecting audiences in each city by not telling the dirty, rotten truth upfront about these shows.

This is Steve On Broadway (SOB).

Related Stories:
Touring Hairspray Caught In Sticky Net (April 26, 2007)

Labels: Actors Equity, Broadway, Dirty Rotten Scoundrels, Fort Lauderdale, Hairspray, Huntsville, Musical, Touring Production

posted by Steve On Broadway (SOB) @ Sunday, January 20, 2008 9 comments

London Critics Can't Stop The Beat Of Hairspray

London Critics Can't Stop The Beat Of Hairspray

Last evening, after five years of wowing them on Broadway and just months after the film musical opened worldwide, the stage version of Hairspray has finally opened in the West End of London. Overall, critics ate it up.

"Delightful" is how Benedict Nightingale of The Times describes the show in his four-out-of-five star review: "The musical resembles Grease, then? Yes, but only a bit, for Hairspray is wittier, funnier, more good-natured and, without being pretentious, more morally and politically aware....But anyone would forgive the show’s wishfulness, given the ebullience of Marc Shaiman’s rock, which might have been written for and delivered by Elvis himself, and the quality of Jack O’Brien’s cast, which matches its Broadway counterpart for energy."

Describing it as "heaven on earth," Charles Spencer of The Telegraph joins in the praise: "Director Jack O'Brien, who alternates raucous musicals like this with superb revivals of Tom Stoppard at the Lincoln Centre, ensures that sentiment and laughter are mixed in just the right proportions in a show that offers a sugar-rush of pleasure. Jerry Mitchell's choreography is splendidly effervescent and newcomer Leanne Jones, straight out of drama school and making her professional debut, has exactly the right bubble and bounce as Tracy, moving with a lightness of foot that belies her avoirdupois. The show might be less slick than in New York, but there is no mistaking its big, raucous heart."

Calling it "the plump girls' feelgood, romantic comedy of a musical" in his four out of five star review is Evening Standard's Nicholas de Jongh: "Hairspray...sent the rare, sweet smell of success wafting through the Shaftesbury last night....Leanne Jones, in an astonishingly accomplished stage debut, plays Edna's big-sized daughter, Tracy....It is through Jones's endearingly earnest Tracy, who dances with a lightness belying her size, that links between love, comedy and radical politics are forged....Marc Shaiman's urgent score, with clever, often witty lyrics written with Scott Whitman, keeps Hairspray pulsating with musical excitement as well as political anger."

Proclaiming it a "deliciously fluid production," Michael Billington of The Guardian also offers four out of five stars: "But even if Hairspray, in the process of being turned into a Broadway musical, has lost some of its glorious tackiness, it retains its generous spirit: this is still a show that not only hymns physical difference but also the basic right to racial integration....Where the show really scores is in its ability to integrate serious issues into a lightweight plot. Jerry Mitchell's joyous choreography is the beating heart of the show. There is something dionysiac about it; and, if the show achieves the ecstasy one looks for in a musical, it comes largely through the dance routines."

Taking note that "this exuberant, breathless production chokes all resistance, smothering all in its orbit," Quentin Letts of the cheesy Daily Mail sniffs, "Here is full-squirt, two-dimensional fun, at times almost dementedly full-on. It doesn't tickle you into mirth. It blooming well shoves you."

Sounds like the Shaftesbury Theatre finally has scored a winning musical. Tickets are now available through next October.

This is Steve On Broadway (SOB).

Click here for tickets.
Related Stories:
Go East, Young Musical, Go East (July 26, 2007)
Hairspray To Brush With West End Style (March 9, 2007)

Labels: Broadway, Critics' Capsule, Film, Hairspray, Jack O'Brien, Jerry Mitchell, London, Marc Shaiman, Michael Ball, Musical

posted by Steve On Broadway (SOB) @ Wednesday, October 31, 2007 0 comments

Bruce Vilanch Weighs In On Hairspray Experience

Bruce Vilanch Weighs In On Hairspray Experience

Somehow, I missed this highly amusing August Variety piece by comedy writer-cum-musical actor Bruce Vilanch reminiscing about his experience as Hairspray's first touring Edna Turnblad. But it's a great read.

His opening riff is quintessential Vilanch:

OK, so it's no secret that John Travolta and I have fought over many of the same parts. After extensive lobbying sessions with Robert Stigwood, I let John have "Saturday Night Fever." I knew there'd be better roles ahead and, after all, if one kid from Jersey won't do another kid from Jersey a favor, who will? Ain't that right, David Chase?

When "Grease" came along, there was Stigwood again, this time with Allan Carr, and I let go of my Vulcan death grip on that role to John. Again.

When John dropped out of "American Gigolo," I was ready to go, but Paramount insisted I lose a hundred pounds by the next week, so in stepped Richard Gere. You know the rest.

While I was certainly delighted seeing Harvey Fierstein and Marissa Jaret Winokur, along with the rest of the original cast of Broadway's Hairspray, when I learned that the hilarious, hirsute Vilanch would be touring, I made it a point to see the show again.

I not only caught Vilanch & Co. during the tour's 2004 stop in Minneapolis (Vilanch, of course was required to shave off his trademark beard, tranforming himself into an engaging and entertaining Edna), but I also had the unique privilege of dining with this comic genius -- I had been the highest bidder on a dinner with him during an auction to benefit the Minnesota AIDS Project.

This gracious man is seriously funny and very down to earth. He kept me in stitches throughout the meal -- of course, it didn't hurt that he came to dinner wearing one of his signature T-shirts that had a big rooster on it with the words "My" above said bird and "tastes like chicken" scrawled underneath.

While you can count on his witticisms being used in what seems like virtually every major awards show, look for Vilanch to resurface in the new celebrity-packed court show Jury Duty, next year's documentary "Wrangler: Anatomy Of An Icon," and a return to acting in "Tru Loved."

I'm just holding out true hope that Vilanch will return to the stage.

This is Steve On Broadway (SOB).

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Labels: Broadway, Bruce Vilanch, Film, Hairspray, Harvey Fierstein, Minneapolis/St. Paul, Touring Production

posted by Steve On Broadway (SOB) @ Tuesday, October 02, 2007 2 comments

Giving Birth To Cry-Baby

Giving Birth To Cry-Baby

Director Mark Brokaw knows a thing or two about birthing shows. And this November, he'll help bring the brand spanking new Cry-Baby to life at San Diego's La Jolla Playhouse.

Based on the 1990 John Waters flick, the Rialto-bound Cry-Baby has a pretty impressive pedigree. For starters, in addition to Brokaw, one of my fave Broadway babies is on board: Tony winning actress Harriet Harris, who'll make this her second Great White Way outing this theatrical season (she replaces Jan Maxwell). Opposite Harris will be James Snyder in the title role. Also in the cast is a terrific talent named Carly Jibson, whom I first saw as Tracy Turnblad in the touring production of that other Waters-inspired musical Hairspray.

Cry-Baby's book comes from two grown men who certainly know their way around Waters' material: the estimable Thomas Meehan (Annie, The Producers) and Mark O'Donnell, the same duo who wrote the libretto for Hairspray. Choreography will be provided Rob Ashford, whose fine work is much in demand on both sides of the Atlantic these days. Broadway novices David Javerbaum (writer for Comedy Central's "The Daily Show") and Adam Schlesinger (Fountains of Wayne) are writing the score.

Cry-Baby will be born on November 6 at La Jolla Playhouse's Mandell Weiss Theatre. It's expected to reach Broadway in March with an April opening.

This is Steve On Broadway (SOB).

Click here for tickets.
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Labels: Broadway, Cry-Baby, Film, First Word On New Show, Hairspray, Harriet Harris, John Waters, La Jolla Playhouse, Mark Brokaw, Mark O'Donnell, Musical, Rob Ashford, San Diego, Thomas Meehan

posted by Steve On Broadway (SOB) @ Thursday, September 27, 2007 2 comments

Starring Roles Whether Or Not They're The Ones You Want

Starring Roles Whether Or Not They're The Ones You Want

The second Broadway revival of Grease may be opening this Sunday, yet suddenly the spotlight is falling on several "You're The One That I Want" reality show contestants who coveted the roles of Danny and Sandy, but didn't quite make it.

The reason? They've been cast elsewhere.

First among them, as I noted two days ago, is Ashley Spencer. While she may have lost to Laura Osnes in the NBC television show, she ultimately technically beat Osnes to the Great White Way with the plum role of Amber von Tussle in Hairspray. On the very night Osnes began previews in Grease, Spencer began performing in the long-running Tony Award-winning musical.

Then yesterday came word via Playbill that Derek Keeling has been cast as Charles Darnay in Jill Santoriello's musical version of Charles Dickens' classic A Tale Of Two Cities -- a $12 million show with an eye toward a 2008 Broadway berth that will premiere this October at Sarasota's Asolo Repertory Theatre.

Then today, Playbill carried the announcement that Chad Doreck would replace Matthew Buckner in the long-running Off-Broadway favorite Altar Boyz beginning September 3. Up til now, Doreck's major claim to fame has been the voice of "Crackle" for Rice Krispies. Hopefully, his voice won't summarily follow in the role of Matthew.

Finally, apart from participating in the weekly "After Party" at the Laurie Beechman Theatre in May, Austin Miller -- the actor/singer most likely to succeed, although he failed to garner more votes than Max Crumm -- has yet to announce any major theatrical gig. But he was pretty awesome as Link in the original touring production of Hairspray alongside Carly Jibson and Bruce Vilanch; while Jibson and Vilanch eventually appeared in the Broadway version, Miller never had the opportunity and quite frankly, I never understood why.

This is Steve On Broadway (SOB).

Click here for Altar Boyz ticket information.
Click here for A Tale Of Two Cities tickets.
Click here for Grease tickets.
Click here for Hairspray tickets.
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Hairspray's Stunt Casting Sticks (August 14, 2007)
Broadway Grosses: Greasing The Skids (August 7, 2007)
Which Upcoming Broadway Musicals Will You See? (June 15, 2007)
Max And Laura Go Together (March 26, 2007)
Behind The Grease Paint (March 24, 2007)
Grease: The Ones That I Want (March 22, 2007)
Apparently Grease Is The Word At Ticketmaster (January 9, 2007)
Sandy And Danny: Who Are The Ones You Want? (January 6, 2007)
The Sound Of Praise (November 16, 2006)
It's A Reality: The Sound Of Music Revival Comes Alive In London Tonight (November 15, 2006)
I've Got Chills, They're Multiplying: NBC Reality Show to Cast Grease (August 8, 2006)

Labels: A Tale Of Two Cities, Altar Boyz, First Word On New Show, Florida, Grease, Hairspray, Musical, Off-Broadway, Television

posted by Steve On Broadway (SOB) @ Thursday, August 16, 2007 6 comments

Hairspray's Stunt Casting Sticks

Hairspray's Stunt Casting Sticks

Tonight marks the official Broadway debut for former 'N' Sync boy bandmember Lance Bass. Talk about an auspicious time for his Great White Way arrival.

As if the film hadn't already returned boffo business to the five-year-old tuner, the stunt casting certainly doesn't hurt.

Ever since the silver screen version of Hairspray hit movie theatres last month, the Broadway show has been playing to SRO crowds. Just last week, the show earned $901,232 -- enough to make it the eighth top grossing Rialto offering of the week. But its sheer capacity of 100.9% eclipsed every other show, including that of the almighty Jersey Boys at 100.8%.

As I said above, the ongoing stunt casting has only added to the interest in the Broadway offering. Where else can pop music fans go see not one, not two, not three, but four pop music artists, including sixties icon Darlene Love (Motormouth Maybelle), nineties soul sensation Tevin Campbell (Seaweed), former O-Town star Ashley Parker Angel (Link), and now Bass?

Plus, there's also the Beav, er, Jerry Mathers as the Wilbur and Grease reality show finalist Ashley Spencer (Amber), who gets the last laugh on the "You're The One That I Want" winners by reaching the Great White Way first.

Finally, it certainly doesn't hurt that the breathtaking Isabel Keating, who scored with her spot-channeling of Judy Garland in The Boy From Oz four years ago, is now cast as Velma.

All of this renewed success portends great things for the upcoming London incarnation that is finally set to take its first bow at London’s Shaftesbury Theatre on October 11, as well as the South African version set to grace the stage of the Gold Reef City Casino's Lyric Theatre in Johannesburg -- perfect for a place where Apartheid came crashing down a mere 14 years ago.

This is Steve On Broadway (SOB).

Click here for Hairspray Broadway tickets.
Click here for Hairspray Johannesburg tickets.
Click here for Hairspray London tickets.
Related Stories:
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Go East, Young Musical, Go East (July 26, 2007)
Touring Hairspray Caught In Sticky Net (April 26, 2007)
Hairspray To Brush With West End Style (March 9, 2007)
Fall At Broadway's Box Office (September 12, 2006)

Labels: Box Office, Broadway, Film, Hairspray, Jerry Mathers, Lance Bass, London, Musical, South Africa, Stunt Casting

posted by Steve On Broadway (SOB) @ Tuesday, August 14, 2007 6 comments

Stuck On Hairspray

Stuck On Hairspray

It should be duly noted that occasionally, I do see a movie or two.

A week ago Friday, the second silver screen incarnation of “Hairspray” opened to favorable reviews and a wide audience, earning what was the best opening weekend of any movie musical ever. Having adored the original 1988 film, as well as having immensely enjoyed the 2002 Broadway stage musical adaptation, I was sure to make a beehive, er, bee line to see the flick the day it was released.

While I still haven’t gotten over the fact that Harvey Fierstein was not invited to reprise his Tony-winning take as Edna Turnblad, I went in with an open mind, deciding to give John Travolta and the movie a chance.

And guess what? Thanks to his deft delivery of an adorable Edna by breaking new ground with his larger than life characterization, I actually forgot that I was watching the very same actor who was on fire as Danny Zuko nearly thirty years ago.

But he's not even the show's best asset. You simply can’t help but fall in love with Nikki Blonsky (as Tracy Turnblad), the young actress who traded in her ice cream scooper for a giant lick in the big time. It’s been years since I’ve witnessed an unknown display such amazing grace and confidence her first time out.

Other standouts include Zac Efron (Link), Amanda Bynes (Penny) and Michelle Pfeiffer (Velma Von Tussle). I’d be remiss not to mention both James Marsden or Elijah Kelley (Seaweed). Marsden provided a cheeky, yet luminescent presence as Corny Collins -- here’s hoping we’ll see him trade the big screen for a big stage musical with that big smile. And if there's any justice, it would be downright sweet to see Kelley replicate some of his moves by treading the boards, too.

The zippy pacing and exhilarating choreography by director Adam Shankman made the film whiz by, although not too fast as to miss the show’s enormous heart, which was created in large part by the score from Marc Shaiman and Scott Wittman. Still -- and this will be the theatre snob coming out in me -- as much as they cranked the volume up on all the major numbers, including the dizzying finale, I couldn’t help but recall how much more frenzied with delight the live show made its audience.

Although I missed many of the original tuner’s musical numbers stricken to help move the film along, I was certainly placated by the renditions offered with the credits – not the least of which was the gloriously inspired trio of Rikki Lake, Marissa Jaret Winokur and Nikki Blonsky singing “Mama I’m A Big Girl Now.”

Just for the record, I personally believe the best “Hairspray” of all remains the original John Waters effort. But here’s hoping that this very enjoyable remake will inspire countless fans to make Broadway’s Neil Simon or London’s Shaftesbury Theatres a destination to see the slightly superior stage version. And it must be having an enormous impact as the Great White Way production is playing to standing room only houses for the third week in a row (quite a noteworthy rebound from its steep decline last fall).

This is Steve On Broadway (SOB).

Click here for Hairspray Broadway tickets.
Click here for Hairspray London tickets.
Related Stories:
Go East, Young Musical, Go East (July 26, 2007)
Touring Hairspray Caught In Sticky Net (April 26, 2007)
Hairspray To Brush With West End Style (March 9, 2007)
Fall At Broadway's Box Office (September 12, 2006)

Labels: Broadway, Film, Hairspray, Harvey Fierstein, John Travolta, John Waters, London, Musical, Nikki Blonsky

posted by Steve On Broadway (SOB) @ Tuesday, July 31, 2007 4 comments

Go East, Young Musical, Go East

Go East, Young Musical, Go East

Despite the incredibly shrinking dollar -- and in spite of the premature closing of the big American hit musical The Drowsy Chaperone, which reached its 500th performance milestone on Broadway, yet is closing in London after a mere two months -- nothing spells theatrical success quite like having your show play to audiences on both sides of the Atlantic, as Variety's Gordon Cox examines.

On the heels of the extraordinary success of the new film version of the Broadway stage musical that was based on John Waters' original 1988 flick, Hairspray will finally open in the London this October 11 at the Shaftesbury Theatre with U.K. stage fave Michael Ball as Edna Turnblad. The Great White Way incarnation that premiered five years ago, won the 2003 Tony for Best Musical.

After that, expect the 2006 Tony-winning Best Musical Jersey Boys to confound those anticipating a show about young boys and their cows on the pastoral isle of The Bailiwick of Jersey when it replaces Mary Poppins at London's Prince Edward Theatre on February 28.

This year's Tony-winning Best Musical Spring Awakening will most certainly be mounted on the West End, but details have yet to be announced. And although Grey Gardens may be vacating Rialto's Walter Kerr Theatre this Sunday, it's expected to find its new West End digs sometime during the current theatre season.

While the plummeting U.S. dollar may make mounting each of these shows more expensive, at least ticket prices remain somewhat reasonable in London. For example, you can expect to pay £61.50 (or approximately $123 US) for Jersey Boys' top ticket vs. $351.50 on Broadway. Thankfully, the whole concept of "premium seating" has not caught on, although -- quite inexplicably -- you'll still have to pony up to $8 for their version of a Playbill.

If you're a theatre lover, but have never had the opportunity to see a show on the West End, I would highly recommend it. Just don't go with the expectation that every musical or play ends in a standing ovation -- the British tend to reserve those for truly remarkable and stunning performances. Here! Here!

This is Steve On Broadway (SOB).

Click here for Hairspray UK tickets.
Click here for Jersey Boys UK tickets.

Labels: Broadway, Grey Gardens, Hairspray, Jersey Boys, London, Mary Poppins, Spring Awakening, The Drowsy Chaperone, Ticket Prices, Transfer

posted by Steve On Broadway (SOB) @ Thursday, July 26, 2007 0 comments

Touring Hairspray Caught In Sticky Net

Touring Hairspray Caught In Sticky Net

There's a serious bait and switch taking place throughout the United States as Hairspray tours the nation in the Broadway Across America series. Only trouble is, despite advertising itself as "Broadway's Tony Award-winning musical-comedy phenomenon," this one is strictly a poseur.

Unsuspecting audiences throughout North America will be forgiven for thinking that they're seeing a production that has all of the same production credits as the original Broadway tuner, but they need to beware that the tour is not directed by Jack O'Brien, nor is it choreographed by Jerry Mitchell. Furthermore, audiences are paying the same prices to see non-equity actors that they'd typically pay to see equity actors.

This is an outrage and just plain wrong. Something is seriously amiss in all of the advertising materials. For example, in Minneapolis where the touring Hairspray is currently performing, the Hennepin Theatre District Web site "clearly" states:

Broadway's Tony Award®-winning musical-comedy phenomenon takes you back to 1962 Baltimore, as 16-year-old Tracy Turnblad sets out to dance her way onto TV's most popular show. Can a big girl with big dreams -- and even bigger hair! -- change the world … and still have time to win the boy she loves? It's the winner of eight 2003 Tony Awards®, including Best Musical. As The New York Times says, “If life were everything it should be, it would be more like Hairspray. It's irresistible!”

Alongside the description, the Hennepin Theatre District provides two Internet links:
http://www.hairspraythemusical.com/
http://www.broadwayacrossamerica.com/minneapolis

The first, of course, is not to the touring production's Web site, but to the official site of the Broadway show. The second link goes to Broadway Across America, which provides the same description as the Hennepin Theatre District site in an expanded version that also adds: "This mega-hit is piled bouffant-high with laughter and romance -- and enough deliriously tuneful new songs to fill a nonstop platter-party."

It's only after getting four clicks in -- and two clicks beyond where the unknowing consumer would likely purchase tickets -- that a link for the touring production of Hairspray is found. It's another three clicks before I finally found the following line buried in the scroll at the very bottom of the synopsis icon:

This produc- tion of Hairspray is based on Jack O'Briens [sic] original direction and Jerry Mitchells [sic] original choreography, recreated by Matt Lenz and Danny James Austin, respectively.

Sure, Lenz did serve as associate director on the original Hairspray to Jack O'Brien, but that's no guarantee that he has the same deft touch.as the Tony Award-winner.

Since I just don't think too many consumers will go to the trouble of digging as deeply as I did before deciding to see this popular show -- and they certainly won't know that they're paying top ticket prices to see non-equity actors -- I believe that the producers are perpetrating a morally deceptive practice and taking ill advantage of their audience's goodwill and excitement engendered by the original production.

Interestingly enough, Minneapolis' Star Tribune critic Rohan Preston (the very same Rohan Preston to serve as a member of the jury for the Pulitzer Prize for Drama whose recommendation was completed ignored) didn't seem to mind, but Dominic P. Papatola of the competing Pioneer Press in St. Paul called this a "fourth-rate production" with a "third-tier cast."

If life were everything it should be, productions would be more honest with their patrons. Shame on this touring production. Caveat emptor, indeed!

This is Steve On Broadway (SOB).

Click here for ticket information for the touring production.
Click here for tickets to the real deal on Broadway.
Related Stories:
Hairspray To Brush With West End Style (March 9, 2007)

Labels: Broadway, Hairspray, Musical, Touring Production, Warning

posted by Steve On Broadway (SOB) @ Thursday, April 26, 2007 11 comments