If you're among the thousands of theatregoers who have been to Broadway over the past month or so, you'll likely have heard an appeal from onstage to support Broadway Cares/Equity Fights AIDS with a donation, no matter how large or small.
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Broadway.com quotes Wicked composer Stephen Schwartz, who says, "It'll probably be in 3-D because that's where all [movies] are going." Of course, not everyone is enamored by 3-D filmmaking. Esteemed critic Roger Ebert is among those who makes a pretty good case against the technology.
Now that Idina Menzel and Kristin Chenowethhave apparently been told they're "too old" to recreate their stage turns as Elphaba and Glinda, respectively, on the silver screen, the search is on for actresses who can attract audiences. In the Broadway.com interview, Schwartz mentions the possibility for casting the younger Idina Menzel-doppelgänger Lea Michele, as well as "meeting" director Ryan Murphy. But neither is on board yet with the film version that Schwartz said remains "a twinkle in our eye" for the time being.
So dear readers, would you like to see Wicked in 3-D? Please vote in my latest SOB Poll below and then weigh-in!
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.
Pair one of the Great White Way's most beloved contemporary musical/comedy stars (Kristin Chenoweth) with one of the last decade's most memorable television actors (Sean Hayes), throw in a couplemore of Bacharach and David's most popular hits, move the action of Neil Simon's book up a half decade to capitalize on "Mad Men," and voila! A smash, right?!
Unfortunately, the only smash comes in the form of the massive collision of sensibilities between this revival's two wildly, divergent acts (not to mention how contextually misplaced those added songs are). The first is so horrendously conceived and downright boring, that you may be tempted to leave at intermission. The only saving grace is Hayes' occasionally winning take on C.C. Baxter, the office climber who's hoping to impress office cafeteria waitress Fran Kubelik (Chenoweth, whom I regret to say is miscast). But even Hayes' C.C. too frequently comes off as just this side of Jack.
The shocker is that the second act is so significantly better than the first that you're actually relieved you stuck this one out. That's largely because of the yeoman efforts of the superb Katie Finneran. She not only saves the day with her deliriously funny portrayal of the tipsy Marge MacDougall, but she also salvages the show.
You can't help but contemplate the promise of what might have been had Ashford maintained the same tone throughout. Instead, I'm sorry to say, we're merely stuck with broken Promises, Promises.
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.
David Hare’s The Vertical Hour, with Bill Nighy and Julianne Moore. Critics were mixed on this play, although all sang Nighy’s praises. Moore’s starpower wasn’t enough to keep the production from closing two weeks earlier than planned. Still, with 117 regular performances, the production achieved that rarest of feats for Broadway plays: it leaves having already turned a profit.
The Roundabout Theatre Company’s revival of The Apple Tree with Kristin Chenoweth, Brian d’Arcy James and until recently, Marc Kudisch, who jumped ship for The Pirates Of Penzance. Although the cast received decent to rapturous notices, few critics (including yours truly) were excited about this dated concept musical. The limited run enjoyed 99 regular performances.
Bob Martin (pictured), a/k/a Man In Chair, in the ongoing, Tony-winning Broadway production of The Drowsy Chaperone. Martin, of course, is one of the genii behind this vastly entertaining musical from before its inception as a 1999 Toronto Fringe Festival favorite. But fortunately for West End audiences, Martin will be returning to the comfort of an English version of his favorite settee later this year. Still, it will be hard to imagine anyone else on the Great White Way as this one-of-a-kind character, who inserts himself into the action of a 1920s-style tuner.
Each of these departures is deserving of a fond farewell, and expect to see some well-deserved Tony nominations announced for performances in the outgoing productions. And perhaps there’s a future Olivier in the cards for Martin, who rightly received a Tony nod last year.
This is Steve On Broadway (SOB). Click here for The Drowsy Chaperone tickets.
I had been told earlier this week that Mullally signed for the show. I've also heard that the producers have decided against casting the venerable Cloris Leachman, who created the Frau Blücher role on the silver screen. The rumblings I've heard not only deem her too old (Leachman is, in my opinion, a remarkably young 80), but also indicate that Young Frankenstein can really only begin anew if it's completely recast. Somehow, those neighing horses will never be the same.
Having said that, another of my fave actresses, the redoubtable Andrea Martin, has supposedly been in the running to assume the role of Frau Blücher. But like Chenoweth, she's reportedly mulling over her own potential television deal. Same goes for Roger Bart, who played Igor in the much-ballyhooed reading of Young Frankenstein last October.
One thing that does seem certain is that the out of town tryout will be in Seattle this summer. Personally, I'm already planning a trek to America's Emerald City to see whether this Broadway bound tuner measures up, regardless of who's cast (although it sure would be nice to finally see Sutton Foster...).
Undeniably, Kristin Chenoweth is one of Broadway's top musical actresses these days.
But with a potential starring gig on an ABC television series called "Pushing Daisies," what will happen to the looming Young Frankensteinscheduled to replace The Producersat the St. James Theatre later this year? The Tony-winning actress had earlier assumed the coveted Madeline Kahn role of Elizabeth in last year's vaunted reading of the new Mel Brooks tuner.
Chenoweth, of course, is performing her last couple weeks in the Great White Way revival of The Apple Tree. In addition to her leading role in that show, she recently made her acclaimed operatic debut with New York's Metropolitan Opera.
Needless to say, the ABC pilot has yet to be picked up, and much can happen between now and the time Young Frankenstein comes to fruition. But if she's now going West, who might replace her?
According to one of my favorite personal sources, Megan Mullally is rumored to be ready to take Chenoweth's place. Mullally has not been on Broadway since 1995's celebrated revival of How To Succeed In Business Without Really Trying. Her only other stint there was in the 1994 revival of Grease. Ironically, I just spotted Mullally in the audience at a recent performance of the new Companyrevival (stay tuned for a review of that show to come shortly).
While I have to admit that I'd be sad to see the promising new Brooks musical move forward sans Chenoweth, Mullally is one of the few other comedic actresses with the apropos chops to make Kahn's former role her own. Stay tuned!
What promises to be the year's most highly anticipated Broadway musical -- especially if it can retain all of its amazing workshop talent -- is Mel Brooks' hotsy-totsy Young Frankenstein. According to Playbill, casting notices have confirmed that rehearsals will begin in June aimed toward a fall opening on the Great White Way.
Most insiders have speculated that with Susan Stroman and Thomas Meehan doing for this film-to-stage treatment what they did for Brooks' The Producers (Stroman directed and choreographed while Meehan collaborated with Brooks on the book), the new tuner will likely replace the other after its six year run at the St. James.
The Apple Tree (The SOB Review) - Studio 54, New York, NY
**1/2 (out of ****)
Perhaps a more apt name for The Apple Treewould be "The Apple Pie."
The revival is unevenly cut into three rather disparate slices. On the surface, they appear to have many of the same ingredients, but ultimately they taste comedically different.
Sure, they each showcase the breathtaking talent of star Kristin Chenoweth, whether it's her genuine comic timing or her gorgeous four-octave singing voice. In "Eden" (the first act), she is masterful in her heartfelt portrayal of a very wise Eve, always in search of more answers and never ceasing to learn. Chenoweth lets completely loose as Princess Barbára in the second act's semi-barbaric kingdom. And she's all glitz and glammed up for her third act turn as Passionella.
Likewise, each act underscores how criminally underutilized the gifted Brian d'Arcy James is on Broadway. Whether he's playing the somewhat dim-witted Adam in part one, Captain Sanjar in part two or Flip, the Prince, Charming in part three, d'Arcy James makes for the perfect romantic foil for each of Chenoweth's characters.
A third common ingredient, of course, is that the entire musical was scored back in the 60s by Jerry Bock and Sheldon Harnick, the songwriting team best known for their blockbuster hit, Fiddler On The Roof.
And although each vignette is ultimately about the quest for knowledge and its implications on love, the three pieces of the pie fail to come together as one, unless you count the references to the color brown. I expected for the reprisal of at least one number in each successive act, yet none came. Even the set and costume designs for each portion are so unique to its own story that lined up side by side, you'd be forgiven for thinking they were from three different shows.
Yes, each segment is delicious in its own way -- the first act set in the Garden of Eden is perhaps the most tasty and poignant -- but as one, the show is not brown enough and comes off as half-baked. It doesn't help that unlike the first and third acts, the second never offers a satisfying ending.
As a result, The Apple Tree's often-tempting pie somehow adds up to less than the sum of its pieces. Yet it sure can be fun sampling each slice.
Did Apple Revival Fall Very Far From The Tree With Critics?
Last evening, the very first revival of the 1967 Broadway hit The Apple Treeopened at Studio 54. Did this Apple fall very far from the original Tree?
The Wall Street Journal's Terry Teachout enthusiastically proclaims: "Rejoice greatly, musical-comedy fans: The Roundabout Theatre Company has revived The Apple Tree as a vehicle for Kristin Chenoweth, and she drives it up and down Broadway like a brand-new Beemer....By turns funny, sexy, endearing and the best singer on Broadway, she nails a high D in 'Passionella,' presumably just because she can. She is also a splendid actress who fills every line and gesture with fully felt, dazzlingly specific life, and woe to the mere mortals who must labor in her shadow."
In awarding three out of four stars, USA Today's Elysa Gardner opines: "This fresh Apple, now at Studio 54, has ample charm to sustain it for two hours....Clearly, even at 4-foot-11, Chenoweth remains a force to be reckoned with."
Michael Kuchwara of the Associated Press has laurels for the celebrated actress, even if not for the show: "Kristin Chenoweth makes her own special brand of musical-comedy magic. The woman belongs in the theater...preferably in a musical that can show off her voice and delirious comic timing at the same time. She gets just such an opportunity in this odd, uneven entertainment...Chenoweth played the lead in The Apple Tree two years ago in a production at 'Encores! Great American Musicals in Concert.' If anything, she has gotten better."
Praising Kristin Chenoweth as "fearless and, when need be, shameless" in his mixed review, Ben Brantley of The New York Times states: "Are the vitality, craftsmanship and musical chops of Ms. Chenoweth and her co-stars enough to turn a rusty time capsule into a transporting time machine? The answer is an unqualified yes only in the first act, based on Mark Twain’s 'Diary of Adam and Eve.' In the second act...The Apple Tree starts to look pretty bare."
Also offering up a mixed review is Variety's David Rooney: "Roundabout's decision to upgrade to Broadway in a slapped-together production at Studio 54 only exposes the flimsy material's limitations. There's still lots to enjoy here, but with a top ticket north of $100, sweet and pleasant don't quite cut it....Chenoweth has the timing and physical comedy skills of a classic screwball star like Carole Lombard, and her airy, effortless soprano makes enchanting work of (the) songs...."
Certainly while most of the attention has been lavished on its diminutive star Kristin Chenoweth, one fun little factoid that harkens back to the original 1966 production is that Alan Alda -- one of Chenoweth's co-stars on "The West Wing" -- will be providing the "Voice of God" in the revival. Alda originated the roles of Adam, Captain Sanjar and Flip, the Prince, Charming during the musical's first incarnation for which he received a Tony nomination (Brian d'Arcy James will tackle these characters in the version opening tonight).
Chenoweth, of course, will be filling the enormous shoes left by Barbara Harris, who won a Tony for her portrayals of Eve, Princess Barbára, Ella and Passionella. What makes her turn in these roles all the more intriguing is that unlike Harris, Chenoweth can hit the high D in “Gorgeous” that nearly forty years ago was pre-recorded by someone else and played for effect.
While Marc Kudisch's Snake will try charming Chenoweth's Eve, the question remaining is whether the Gary Griffin-helmed tuner can similarly captivate the critics.
Speaking of Oklahoma’s second largest city, I read an insightful story in today’s The New York Times on the űber-busy bubbling Broadway blonde actress Kristin Chenoweth, who originally hails from Broken Arrow, OK.
Give her props for being proud to be who she is. And I can’t wait to see her in the upcoming Great White Way revival of The Apple Tree, which opens on December 14.
Over the last few weeks, I've invited you and other Steve On Broadway (SOB) readers to tell me which new Broadway musical revival you're most enthusiastic about seeing. The biggest slice of votes (37%) went to The Apple Tree, which was in great company with, well, Company (with 25.9%).
If you're judged by the company you keep, then it has to be said the upcoming John Doyle-helmed revival of Stephen Sondheim's Company has created plenty of excitement and positive buzz due to its acclaimed premiere in Cincinnati.
Most surprising was the fourth place finish of A Chorus Line(11.1%) behind Les Misérables (18.5%). Maybe it's that many of you have already made tracks to the Gerald Schoenfeld Theatre since the former opened, or perhaps it was the mixed reviews it garnered. Whatever the reason, I still expected a somewhat different outcome.
Personally, I'm torn as to which revival I'm most excited about. Fortunately, I already have my tickets to both of my choices -- and it's in keeping with your sentiment: The Apple Tree and Company.
Rain: A Tribute To The Beatles Limited run extended through May 31, 2011 (Show will go on hiatus starting January 15 and reopen at Brooks Atkinson Theatre on February 8)
Rock Of Ages - Open-ended run (Show will go on hiatus starting January 9 and reopen at Helen Hayes Theatre in March)
As someone who has been involved in both politics and public relations, it's no wonder I love watching theatre. Good or bad, it's the raw energy of seeing a live performance that gets my adrenaline pumping. From the moment I saw my very first Broadway show ("Annie" in London in 1979), I was hooked. Now I see as many as 70 shows each year ranging from soaring musicals to two-hander plays. And these eyes just may be in an audience near you!
