Steve On Broadway (SOB)

David Gallo: Designing Broadway And Beyond (The SOB Interview)

David Gallo

David Gallo: Designing Broadway And Beyond (The SOB Interview)

On Friday, I provided the first portion of my interview with Tony Award-winning scenic designer David Gallo, discussing his Snow Globe creation for Broadway Cares/Equity Fights AIDS.

Today, I'm pleased to share the rest of my interview with this affable, engaging and immensely talented designer in which we discussed, among other topics, August Wilson, his incredible inspiration for The Drowsy Chaperone and even how one of his works is now in the Smithsonian Institution.

Here's the SOB Interview:

Steve On Broadway - You had a long association with August Wilson’s works.

David Gallo - That’s correct. My daughter’s name is August as well.

SOB - That's amazing. Can you tell me a little about the experience of working with this great playwright?

DG - It was just the highlight of my career. To even be alive during the same time period with such an extraordinary talent and such an important voice for forever, you know, with world literature. So that enough, but to be able to participate on them was just the highlight of a career to be able to bond with August and be able to work with him directly in developing the visuals aspects of his stories, you know, the words that he was putting together. It was amazing.

August Wilson's Fences

What was it like? I mean, it was great. It was about fourteen years of my life. It was a new challenge every day. Always interesting, you know, because my initial exposure to August was doing a production of Fences almost 20 years ago, which was the first time I had really any connection to the plays themselves. And then I designed the premiere productions of his later works and getting to the point where I was designing productions of August Wilson plays before the plays were written.

SOB - Wow!

DG - Yeah, it got to that point where we would discuss the ideas before he would even have typed out a word, I would already have pen to the paper.

SOB - Well, I was going to ask you how much influence does a director’s vision have on what ultimately you see?

DG - Well a director, a lot. But in this case the playwright, you know, usually not so much. But this was special. He was very much a part of all that stuff. He was a huge influence. And the settings were always so much more than met the eye.

Hughie -  1996 Broadway revival

SOB - With respect to your first design on Broadway, which was for Hughie, you were working at Circle in the Square (a theatre in the round), which in and of itself presents some interesting challenges. I’ve seen many shows that have worked in that space, but so many that just don’t. What were your challenges there.

DG - Well, that space is like really tough. As you know it’s a very difficult theatre to master. And a particular challenge for Hughie is it’s a play that really has just two characters. There’s only two people in it, and one of them is the focus -- the role that Al Pacino played -- and he wanders around a bit. And then the other one played by Paul Benedict is a character that literally never gets out of his chair.

So you’ve got to get a pretty tight ground plan because to get something like that to work in that context is always a little bit tricky. It’s not like a busy play with a lot of characters and a lot of movement and everything is running around that space and you really have to use that space. We pretty much were committed to a very particular play with a very particular presentation style. Yeah, that theatre is not easy.

SOB - I’ve also admired your work in The Drowsy Chaperone. I thought that scenic design was absolute genius. What was your inspiration for that?

The Drowsy Chaperone - Man in Chair's apartment

DG - A guy I knew who was that character.

SOB - Really?

DG - Yes. I read that play and I said, “Holy s***! I know this guy.”

I called my friend and I said I’m coming over with my camera, and I photographed every centimeter of his apartment. The set wasn’t a replication of that apartment, but it was seriously inspired by that guy’s apartment.

He lived in the same place since the late 1970s in a Hell’s Kitchen walk-up on the fifth floor. You know, he actually has his bathtub in his kitchen, you know, and it’s completely filled with musical theatre and opera records. He hangs out there and plays these records. Really, that’s his thing. He’s also a designer -- I mean he has a life. I mean he’s not, you know, as weird as our character. He’s the real thing. So the inspiration came from that.

The Drowsy Chaperone - Play within the play

And then the play within a play was all sort of based on the work of Joseph Urban, the great designer, at the beginning of the century. What if Joseph Urban had actually designed The Drowsy Chaperone. What would it look like?

SOB - I also loved your elaborate designs for Memphis and thought you were really robbed of a Tony nomination.

DG - I never really considered that too much, but we certainly liked the way it turned out certainly.

SOB - It’s also your first Broadway show with a projection design credit?

Memphis (Photo by Wolfram Ott)

DG - Yeah. The first one on Broadway. I’ve done other things.

SOB - Do you think projection designs are here to stay?

DG - Well, yeah, I mean they’ve been around for over a hundred years. So it’s not like it’s new. There’s a lot more that we can do with the ability to make it more effective right now. I think that they’re almost a little too in vogue at the moment. But I think used effectively I think they’d be great. But they’re not going anywhere.

We just opened another one, the Colin Quinn thing – we designed all the projections for that, too.

SOB - You also did the set design for that.

DG - That’s right. It’s sort of my thing.

SOB - It certainly gave me the impression of being right in the middle of a Greek amphitheater.

DG - Oh you saw it?

SOB - Yes.

DG - Good for you.

SOB - Now you have to settle a bet. I was talking with someone about your projection design for Memphis and we were arguing back and forth as to whether it was a live video feed or it was taped.

DG - During the second act when they’re on? It’s all live. It was impossible to do tape.

SOB - And how does it feel to have gotten this far and have something in the Smithsonian?

DG - That actually happened in ’98 or ’99. It was freaky.

SOB - It’s "America’s attic."

DG - I guess so and we’ve cluttered it up with junk. They asked, and they actually had a whole bunch of my stuff and they ended up settling on one thing. But that’s what they wanted to do, and there it is – somewhere in the basement next to the Ark of the Covenant.

I don’t know. It’s never left my bio. I always thought it would. But it’s always still in there. I guess it’s interesting. I don’t know anywhere else with stuff in the Smithsonian.

SOB - I don’t know anybody else with anything there.

DG - So, it’s cool. You know. I mean, when you think about it, you donate it and now it’s not yours anymore, and if I want to go see it I have to have a good reason like it’s my own thing and they’re very clear that you can’t ever have anything back again.

I got some stuff in another museum and that was sort of trippy because I went there to give a lecture and they were like, “Well, while you’re here…” They had a model all laid out and they wanted me to glue it all back together because it had been damaged. And they’re like, “Only you can do it because you’re the original artist.” I know it’s weird. All these art archivists and art restorers are sitting there watching me glue this thing back together again. Weird.

SOB - What’s next for you?

DG - Right now we’re doing Madagascar, the movie -- we’re doing a live version of that. We’re doing a big splashy musical version of Madagascar.

And then we’re just getting started working with a rock band Phish and so we’re designing a New Year’s experience extravaganza for three dates around New Year’s. And then we’re doing scenic design and projections for a very large scale Frank Wildhorn musical -- new musical -- that’s going to happen in South Korea. And then we’re doing another in China. We’re pretty busy. And then I’m going to Stuttgart next week because we have a show opening in Stuttgart, and we just had one open in Rome recently, too.


I ended my conversation with a couple design-oriented recommendations for David Gallo while he's in Stuttgart. I'm sure I'm not alone in looking forward to what this designing genius does next.


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.

Labels: August Wilson, Broadway, Circle in the Square Theatre, Colin Quinn, David Gallo, Frank Wildhorn, Hughie, Memphis, Projection Design, Scenic Design, Smithsonian, The Drowsy Chaperone

posted by Steve On Broadway (SOB) @ Sunday, November 14, 2010 1 comments

Broadway Box Office Tweets - Week Ending June 20, 2010

Broadway Box Office Tweets - Week Ending June 20, 2010

If you follow me on Twitter, you'll know that each Monday, I offer my quick analysis of each preceding week's box office on Broadway.

The week after the Tony Awards is always telling because it demonstrates which shows gained from the broadcast and which ones sadly did not.

For your viewing pleasure, here are my tweets in chronological order for the week ending June 20, 2010:

4:30 pm June 20 - Broadway box office totals are up slightly over last week. Grosses $21,957,198

4:31 pm June 20 - WICKED, LION KING, ADDAMS FAMILY, PROMISES PROMISES, FENCES, BILLY ELLIOT & JERSEY BOYS each gross $1 million+

4:32 pm June 20 - Sold-out WICKED week's top grossing show on Broadway pulling in $1,620,876. Average ticket price: $112.00

4:33 pm June 20 - FENCES continues breaking records at Broadway's Cort grossing $1,135,974 with average ticket now priced at $129.53

4:34 pm June 20 - As week's top grossing play FENCES also hits capacity home run as week's highest at 101.6%. Lots of standing room only

4:35 pm June 20 - Week's highest average ticket price: $130.50-A LITTLE NIGHT MUSIC bid farewell to Catherine Zeta-Jones/Angela Lansbury

4:36 pm June 20 - Grossing $950,296, A LITTLE NIGHT MUSIC played to 97.8% capacity last week.

4:37 pm June 20 - NEXT FALL was week's lowest grossing Broadway show: $154,207. Average ticket price: $55.31 on 59.2% capacity

4:38 pm June 20 - EVERYDAY RAPTURE had week's lowest average ticket price on Broadway: $52.99. Grosses $213,249 on 68% capacity

4:39 pm June 20 - RACE had week's lowest capacity on Broadway: 47.6%. Grosses $253,436 with average tickets priced $62.97

4:40 pm June 20 - Tony Best Musical MEMPHIS enjoys box office bump: Grosses $835,071. Up over $135K week over week. Capacity at 86.5%

4:41 pm June 20 - Tony Best Musical Revival LA CAGE gets slight bump: $687,825 gross. Capacity up 3.5% to 86.5%. Av tix priced $94.02

4:42 pm June 20 - Tony Best Play RED capacity decreases to 98.9% but increases gross by nearly $130K to $666,618. Av tix priced $104.78

4:43 pm June 20 - PROMISES PROMISES gets biggest Tony bump as capacity increases 9% to 97.2%. Grosses $1,237,426. Av tix priced $91.06

4:45 pm June 20 - COME FLY AWAY has week's biggest drop in capacity down 13.2% to just 52.3%. Grosses $667,096. Av tix priced $99.02

Feel free to comment and let me know if you're surprised by any of these results.

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.

Labels: average ticket price, Broadway, Broadway Box Office, Capacity, Come Fly Away, Fences, La Cage Aux Folles, Memphis, Promises Promises, Wicked

posted by Steve On Broadway (SOB) @ Monday, June 21, 2010 0 comments

Tony Awards Monday Morning Quarterbacking

Tony Awards Monday Morning Quarter-backing

Think my title mixes two extremes of popular entertainment where never the twain shall meet?

Think again.

Since New York Jets' quarterback Mark Sanchez appeared on last night's Tony Awards as a self-proclaimed "theatre aficionado" (when this Jet was introduced, dare I say, many in the audience likely thought he was from the cast of West Side Story), and since this fall will see the Broadway bow of Lombardi, it's entirely apropos.

(Click here for the full list of Tony Award winners).

Yes, there will be the carping about Memphis' big win as Best Musical, but let's face it -- the show has what it takes to be a huge success on tour, and lest we forget, a large number of the Tony voters represent the touring class. But it was telling that for the first time in years, the Tony-winning Best Musical earned less awards (four) than the year's Tony-winning Best Play, Red.

Red earned a total of six well-earned Tony Awards, including a first ever for estimable director Michael Grandage, who has become a master of both musicals and plays. Eddie Redmayne surprised (me) as the winner in the Best Featured Actor category, but given his astounding Broadway debut, I could not quibble with the choice of the Tony voters. I had hoped his co-star Alfred Molina would win in what was arguably the evening's most competitive category, but as I predicted, Denzel Washington won for his superb performance as Troy Maxson in Fences.

Which brings me to the photo above. In addition to also accurately predicting Fences would win Best Revival of a Play, Washington's co-star Viola Davis proved to be the most deserving winner of the evening for her bravura performance. In fact, so absolutely certain was I that Davis would win that I had made a twitter wager with @BroadwayGirlNYC that I would eat my Fences Playbill if she failed to take home the Tony. Although that Playbill looked mighty tasty on my plate, I knew all along that I never needed to worry about actually eating it.

In terms of overall predictions, I got 17 out of 26 correct or just over 65%. In the categories that were broadcast, I accurately predicted 11 out of 15 or just over 73%. Not bad, but after entering producer Ken Davenport's contest, I blew his tie-breaker question that asked how long (without going over) Marian Seldes' Lifetime Achievement Award speech would be; I thought I was being modest by predicting it would clock in at a bit over 2 minutes.

I'm sure all of us were wrong as she didn't utter a single word, opting instead to soak in the enormously deserved standing ovation before exiting the stage. Some say it was the best speech ever. And since she spoke volumes more with her eyes and sweeping gestures than most actors can say in a blue streak, I think they may be right.

Speaking of blue streaks, there were plenty to be seen in the hair of numerous cast members via the number of performances afforded American Idiot, which took home two Tony Awards in creative categories. But were all those televised numbers enough to move the needle on its struggling box office? I'm sure we'll hear soon enough. But let's just consider this. For the week of June 6, the show attracted a capacity of 52.6%, which was very anemic for a Best Musical nominee. If there isn't a box office boost for this tuner, you can expect to see closing notices posted very shortly.

Same goes for Come Fly Away, which failed to walk away with any awards. Like American Idiot, this Twyla Tharp tuner has been losing its audience and was down to 56.8% capacity for the week ending June 6. Million Dollar Quartet is in the danger zone, too (it attracted just 57.8% capacity during that same period), but at least Levi Kreis to score a Tony for Best Featured Actor in a Musical and the show didn't come off too shabbily during the broadcast.

But it's Next Fall I predict will post the first closing notice. The show grossed a paltry $116,150 for the week ending June 6 and attracted just 52.3% capacity in what is already one of Broadway's smallest houses. Perhaps they thought they could eke it out through the Tonys, but the producers may feel it's time to finally pull the plug after going home empty-handed. Expect a closing notice at any moment.

For the second year in a row, I spent my Tony Awards evening in the comfort of my own home where I tweeted the night away. Among my tweets that resonated most with my fellow Twitterers (by virtue of how frequently they were retweeted) were the following comments:

(Upon Tony Awards entrance of Angela Lansbury:) There's no legend quite like Angela Lansbury. She's not an overnight sensation ... she's a lifetime sensation! #Tonys

(As Catherine Zeta-Jones was singing "Send In The Clowns":) Catherine Zeta-Jones inexplicably became a bobble-head #Tonys

(During performance from cast of Come Fly Away:) Still think COME FLY AWAY looks like an after-after-after party where all the decent people already went home #Tonys

(As Cate Blanchett was presenting:) Could someone figure out a way to bring Cate Blanchett to Broadway? She's 1 of the best actresses of our time, stage or film. #Tonys

(At start of Lea Michele's rendition of "Don't Rain On My Parade":) Now for the biggest Broadway audition in history as Lea Michele has high hopes for FUNNY GIRL revival. #Tonys

(Just after it the winner was announced in this category:) Best Actress in a Musical: Catherine Zeta-Jones in A LITTLE NIGHT MUSIC. All the other actresses were robbed, but I predicted this #Tonys

(When Memphis' Best Musical acceptance speech was cut-off:) It's over?! Most awkward finish to a Tony Awards show goes to Sean Hayes. What just happened?! #Tonys

Speaking of my Twitter comments, about halfway through the Tony Awards, my friend Esther at Gratuitous Violins alerted me that my Twitter feed was appearing on the New York Times' online Tony coverage (her tweets were there as well).

I was so honored, yet flabbergasted, that I couldn't help but tweet, "I feel like the folks from [title of show] in learning that my tweets are live on NYTimes' #Tonys Twitter feed. Will this go on site, too??"

And sure enough, it did.

So, what did you think of the Tony Awards? Thrilled? Disappointed? Somewhere in between? I'll be curious to know what you thought.

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.

Labels: Box Office, Broadway, Fences, Gratuitous Violins, Marian Seldes, Mark Sanchez, Memphis, Red, Tony Awards, Tony Predictions, Twitter, Viola Davis

posted by Steve On Broadway (SOB) @ Monday, June 14, 2010 5 comments

2010 Tony Awards' Big Winner: Seeing Red!

2010 Tony Awards' Big Winner: Seeing Red!

Earlier this evening, the American Theatre Wing’s 64th annual Tony Awards ceremonies honored Broadway's best of the 2009-10 Theatrical Season.

While musicals Memphis and La Cage Aux Folles fared well by earning Best Musical and Best Revival of a Musical, respectively, it was this year's Best Play winner Red that actually earned the most Tonys this year: six Tony Awards. Memphis earned four awards, while La Cage, Fences (this year's Best Revival of a Play) and Fela! each earned three.

Here is the full list of winners, along with my notations for whom I thought would win and those I thought most deserving of wins:

Best Play
In The Next Room (Or The Vibrator Play) - Author: Sarah Ruhl
Next Fall - Author: Geoffrey Nauffts
Red - Author: John Logan Will Win/Should Win
Time Stands Still - Author: Donald Margulies

Best Musical
American Idiot
Fela! Should Win
Memphis Will Win
Million Dollar Quartet

Best Book of a Musical
Everyday Rapture - Dick Scanlan and Sherie Rene Scott Should Win
Fela! - Jim Lewis & Bill T. Jones
Memphis - Joe DiPietro Will Win
Million Dollar Quartet - Colin Escott and Floyd Mutrux

Best Original Score (Music and/or Lyrics) Written for the Theatre
The Addams Family - Music & Lyrics: Andrew Lippa
Enron - Music: Adam Cork Lyrics: Lucy Prebble
Fences - Music: Branford Marsalis
Memphis - Music: David Bryan, Lyrics: Joe DiPietro, David Bryan Should Win/Will Win

Best Revival of a Play
Fences Should Win/Will Win
Lend Me A Tenor
The Royal Family
A View From The Bridge

Best Revival of a Musical
Finian's Rainbow
La Cage Aux Folles Should Win/Will Win
A Little Night Music
Ragtime

Best Performance by a Leading Actor in a Play
Jude Law - Hamlet
Alfred Molina - Red Should Win
Liev Schreiber - A View From The Bridge
Christopher Walken - A Behanding In Spokane
Denzel Washington - Fences Will Win

Best Performance by a Leading Actress in a Play
Viola Davis - Fences Should Win/Will Win
Valerie Harper - Looped
Linda Lavin - Collected Stories
Laura Linney - Time Stands Still
Jan Maxwell - The Royal Family

Best Performance by a Leading Actor in a Musical
Kelsey Grammer - La Cage Aux Folles
Sean Hayes - Promises, Promises
Douglas Hodge - La Cage Aux Folles Will Win
Chad Kimball - Memphis
Sahr Ngaujah - Fela! Should Win

Best Performance by a Leading Actress in a Musical
Kate Baldwin - Finian's Rainbow
Sherie Rene Scott - Everyday Rapture
Montego Glover - Memphis Should Win
Christiane Noll - Ragtime
Catherine Zeta-Jones - A Little Night Music Will Win

Best Performance by a Featured Actor in a Play
David Alan Grier - Race
Stephen McKinley Henderson - Fences
Jon Michael Hill - Superior Donuts Should Win/Will Win
Stephen Kunken - Enron
Eddie Redmayne - Red

Best Performance by a Featured Actress in a Play
Maria Dizzia - In the Next Room (Or The Vibrator Play)
Rosemary Harris - The Royal Family
Jessica Hecht - A View From The Bridge
Scarlett Johansson - A View From The Bridge
Jan Maxwell - Lend Me A Tenor Should Win/Will Win

Best Performance by a Featured Actor in a Musical
Kevin Chamberlin - The Addams Family Should Win
Robin De Jesús - La Cage Aux Folles
Christopher Fitzgerald - Finian's Rainbow
Levi Kreis - Million Dollar Quartet
Bobby Steggert - Ragtime Will Win

Best Performance by a Featured Actress in a Musical
Barbara Cook - Sondheim On Sondheim
Katie Finneran - Promises, Promises Should Win/Will Win
Angela Lansbury - A Little Night Music
Karine Plantadit - Come Fly Away
Lillias White - Fela!

Best Direction of a Play
Michael Grandage - Red Should Win/Will Win
Sheryl Kaller - Next Fall
Kenny Leon - Fences
Gregory Mosher - A View from the Bridge

Best Direction of a Musical
Christopher Ashley - Memphis
Marcia Milgrom Dodge - Ragtime
Terry Johnson - La Cage Aux Folles Will Win
Bill T. Jones - Fela! Should Win

Best Choreography
Rob Ashford - Promises, Promises
Bill T. Jones - Fela! Should Win
Lynne Page - La Cage Aux Folles
Twyla Tharp - Come Fly Away Will Win

Best Orchestrations
Jason Carr - La Cage Aux Folles Will Win
Aaron Johnson - Fela! Should Win
Jonathan Tunick - Promises, Promises
Daryl Waters & David Bryan - Memphis

Best Scenic Design of a Play
John Lee Beatty - The Royal Family Should Win
Alexander Dodge - Present Laughter
Santo Loquasto - Fences
Christopher Oram - Red Will Win

Best Scenic Design of a Musical
Marina Draghici - Fela!
Christine Jones - American Idiot Should Win/Will Win
Derek McLane - Ragtime
Tim Shortall - La Cage aux Folles

Best Costume Design of a Play
Martin Pakledinaz - Lend Me a Tenor
Constanza Romero - Fences
David Zinn - In The Next Room (Or The Vibrator Play)
Catherine Zuber - The Royal Family Should Win/Will Win

Best Costume Design of a Musical
Marina Draghici - Fela! Should Win
Paul Tazewell - Memphis
Matthew Wright - La Cage Aux Folles Will Win

Best Lighting Design of a Play
Neil Austin - Hamlet
Neil Austin - Red Will Win
Mark Henderson - Enron Should Win
Brian MacDevitt - Fences

Best Lighting Design of a Musical
Kevin Adams - American Idiot Should Win
Donald Holder - Ragtime
Nick Richings - La Cage Aux Folles Will Win
Robert Wierzel - Fela!

Best Sound Design of a Play
Acme Sound Partners - Fences
Adam Cork - Enron Should Win/Will Win
Adam Cork - Red
Scott Lehrer - A View from the Bridge

Best Sound Design of a Musical
Jonathan Deans - La Cage Aux Folles Will Win
Robert Kaplowitz - Fela! Should Win
Dan Moses Schreier and Gareth Owen - A Little Night Music
Dan Moses Schreier - Sondheim On Sondheim

I'll provide more analysis tomorrow, but until then, please let me know what you thought about this year's Tonys. Did the voters get it right?

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.

Labels: Broadway, Fela, La Cage Aux Folles, Memphis, Red, Tony Awards, Tony Predictions

posted by Steve On Broadway (SOB) @ Sunday, June 13, 2010 0 comments

Tony Time 2010

Tony Time 2010

This evening marks the American Theatre Wing's 64th Annual Tony Awards hosted by one of Broadway's newest stars, Sean Hayes.

The Tonys remain the highest honors bestowed annually upon Broadway's new and revived plays and musicals. Named for theatre legend Antoinette Perry, the first Tony Awards were held in 1947 at the Waldorf Astoria's Grand Ballroom with 11 awards presented in only 7 categories, along with 8 special awards.

This year, the Tony Award winners will be honored at Radio City Music Hall, where awards will be announced in a 26 categories -- one less than last year (the Special Theatrical Event category has been eliminated).

Fela! and La Cage Aux Folles lead the pack with 11 nominations each, followed by Fences with 10, Memphis with 8 and Red with 7 nods.

I have posted my Tony Awards predictions here for whom I believe will win, as well as weighing in on whom I think deserves to win.

Additionally, Special Tony Awards for Lifetime Achievement in the Theatre will honor the brilliance of both playwright Alan Ayckbourn and actress Marian Seldes. This year's Regional Theatre Tony Award will be bestowed upn the Eugene O'Neill Theater Center (Waterford, CT). David Hyde Pierce is flying back from London to receive the second annual Isabelle Stevenson Award for his work in the fight against Alzheimer's Disease. Last, but not least, four Tony Honors for Excellence in Theatre will be awarded, including to: the Alliance of Resident Theatres (New York), esteemed theatrical fight director B.H. Barry, the Midtown North and South New York City Police Precincts, and Tom Viola (Executive Director of Broadway Cares/Equity Fights AIDS).

Just like last year, I'll be viewing tonight's ceremonies from the comfort of my own living room. Look for my full wrap-up later. And just like last year, I invite you to check out my live tweets throughout the course of the Tony Awards along the right hand side of SOB or by clicking here.

In the meantime, whether you're in Radio City Music Hall, in Times Square or watching on CBS beginning at 8 p.m. EDT tonight, here's hoping you enjoy this year's event.

Here's to all the nominees!

This is Steve On Broadway (SOB).

Labels: American Theatre Wing, Broadway, Fela, Fences, La Cage Aux Folles, Memphis, Red, Tony Awards, Tony Nominations, Tony Predictions

posted by Steve On Broadway (SOB) @ Sunday, June 13, 2010 0 comments

SOB's Best Of 2009-10: Best New Musicals

SOB's Best Of 2009-10: Best New Musicals

During the 2009-10 Theatrical Season, I've had the opportunity to see over 80 performances of a wide range of new and revived musicals and plays, as well as other theatrical events.

For the third year in a row, I've been the least enthusiastic about the quality among new musicals. But as disheartening as the last two seasons prior to this one were, the season just ending was particularly dismal, as even The New York Times' Charles Isherwood has so eloquently asserted.

That's not to say that there weren't new musicals I've enjoyed over the past year, but the offerings I've seen had me really reaching for a full complement of my five favorites.

While it was tempting to completely shelve by usual "5 Best New Musicals" list altogether, I've opted instead to do away with my "5 Worst" list of shows because it would just be a tad too depressing.

So, without further ado, here is my list of the "5 Best New Musicals" over the 12 months ending April 30, 2010:

5 - Everyday Rapture (American Airlines Theatre, Roundabout Theatre Company, New York, City, New York)

Dismiss Sherie Rene Scott’s Everyday Rapture as nothing more than Broadway navel-gazing at your own peril. It’s Scott’s very soul that’s laid completely bare in this most improbable of Great White Way shows.

Wearing her enormous heart on her sleeve, Scott manages to win ours as she shares her semi-semi-autobiographic journey in a very winning, surpising and often poignant way. Scott enraptures you throughout with talent that’s anything but everyday.


4 - Memphis (Shubert Theatre, New York City, New York)

With a whole heck of a lot of hockadoo, the rhythmically-infused Memphis is a dazzling destination worth the trip. As one of the year's only original musicals, Memphis is, if not entirely fresh, a solid crowd pleaser that will have you cheering.

Two principal reasons are Chad Kimball and Montego Glover. With a folksy swagger, Kimball's Huey is a great ball of fire who can't be extinguished. Then there's Glover's Felicia in which we witness an amazing ascent both for a captivating character and an immensely impassioned new Broadway star. Glover took my breath away. The boundless soul within Memphis has the power to rock your heart.


4 - Caroline, Or Change (Wurtele Thrust Stage, Guthrie, Minneapolis, Minnesota)

Finally! Change I could believe in. While Tony Kushner and Jeanine Tesori's Caroline, Or Change may not truly fit the definition of "new," I'm including it here since I had never seen it until it played Minneapolis last summer. This intensely profound, mystical musical as directed and choreographed by Marcela Lorca transfixed and even tranported me.

Greta Oglesby's brave turn as Caroline alone was worth the price of admission. She wrung every last drop of pathos out of her performance, making her Caroline infinitely sympathetic. As Oglesby transformed during this musical, she broke my heart.


2 - Chita Rivera (Birdland, New York City, New York)

If the 77-years young Dolores Conchita Figueroa del Rivero, better known as Chita Rivera, hadn't been born the Broadway Baby she is, the Great White Way would have had to invent her. The fact that she's the genuine article who's still going strong after all these years not only becomes her tenacity, but it's a testament to her courage and talent.

What really becomes Chita Rivera is that she continues to mesmerize adoring audiences as she had proven yet again during her all-too-brief cabaret stint late last year at Birdland. Sure, we've heard many of the enchanting anecdotes before. But when the enduring and endearing Ms. Rivera can still run circles around gifted performers half her age, she effortlessly retains the mantle as the singular consummate entertainer of our time. If you've never seen Chita Rivera perform live, you simply haven't lived.


1 - Fela! (Eugene O'Neill Theatre, New York City, New York)

Bill T. Jones' sublime Fela! dares to dream its own stylized mantle of "most original new musical on Broadway." Infused with the rascally Fela Kuti's radicalism and rhythms, this revolutionary tuner is almost all originality, with little artificiality.

In what has to be the most transcendent musical to descend upon a Broadway stage in years, Fela! envelopes the senses in this most unusual of jukebox musicals that simply defies description and exceeds all expecations.

Jones has conceived a living, breathing, pulsating and truly magical musical monument to a man most in America may never have heard of. In telling Kuti's story and showcasing his infectious music, it's a tribute to Jones that he makes us feel Fela! so deeply.

Fela! is one of the most compelling and affecting musicals you're likely to see this or any other year. As an equally entertaining piece of musical theatre, I can't fail to strongly recommend this captivating and worthy show. Long live Fela!


So what were the best new musicals you saw over the past year? I invite you to join the conversation by sharing your theatre experiences with me.

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.

Labels: Caroline Or Change, Chita Rivera, Everyday Rapture, Fela, Memphis, Musical, SOB's Best of 2009-10

posted by Steve On Broadway (SOB) @ Friday, June 11, 2010 0 comments

SOB's 2010 Tony Predictions

SOB's 2010 Tony Predictions

This Sunday, the American Theatre Wing’s 64th annual Tony Awards ceremonies will honor the best of Broadway's 2009-10 Theatrical Season. As we count down the days to the Tonys, it's time for me to place my wagers on those nominees I believe will actually win, as well as tell you whom I think should win.

As noted on Monday, I've been extraordinarily fortunate to see every single show, eligible and otherwise, that opened on Broadway over the past year. So unlike last year, I'll be able to at least make informed decisions. Whether I'm right or not remains to be seen.

There is plenty of momentum behind Red, La Cage Aux Folles and Fences, and it doesn't hurt that they all remain open to Tony voters and that they're pulling in respectable audiences. In the case of Fences, it's become box office titanium.

Given the dearth of truly new musicals this season, Tony voters are going to reward Memphis for being one of the lone tuners with original score and an actual book, plus it stands the best chance of being a hit on tour. The exception for Memphis will come (but shouldn't) in Tony voters' starstruck decision for Best Performance by a Leading Actress in a Musical.

Something also tells me that given the lack of nominations -- except for one key nod -- for one of the season's earlier critical hits, Superior Donuts, along with the love shown already this awards season for its talented nominee that you shouldn't be surprised when they call his name. Similarly, with a certain Ragtime actor becoming a bona fide darling of the stage, don't be surprised if he pulls off an upset as well as Tony voters recognize the future star they have a chance to honor now.

Here are my picks:

Best Play
In The Next Room (Or The Vibrator Play) - Author: Sarah Ruhl
Next Fall - Author: Geoffrey Nauffts
Red - Author: John Logan Will Win/Should Win
Time Stands Still - Author: Donald Margulies

Best Musical
American Idiot
Fela! Should Win
Memphis Will Win
Million Dollar Quartet

Best Book of a Musical
Everyday Rapture - Dick Scanlan and Sherie Rene Scott Should Win
Fela! - Jim Lewis & Bill T. Jones
Memphis- Joe DiPietro Will Win
Million Dollar Quartet - Colin Escott and Floyd Mutrux

Best Original Score (Music and/or Lyrics) Written for the Theatre
The Addams Family - Music & Lyrics: Andrew Lippa
Enron - Music: Adam Cork Lyrics: Lucy Prebble
Fences - Music: Branford Marsalis
Memphis - Music: David Bryan, Lyrics: Joe DiPietro, David Bryan Should Win/Will Win

Best Revival of a Play
Fences Should Win/Will Win
Lend Me A Tenor
The Royal Family
A View From The Bridge

Best Revival of a Musical
Finian's Rainbow
La Cage Aux Folles Should Win/Will Win
A Little Night Music
Ragtime

Best Performance by a Leading Actor in a Play
Jude Law - Hamlet
Alfred Molina - Red Should Win
Liev Schreiber - A View From The Bridge
Christopher Walken - A Behanding In Spokane
Denzel Washington - Fences Will Win

Best Performance by a Leading Actress in a Play
Viola Davis - Fences Should Win/Will Win
Valerie Harper - Looped
Linda Lavin - Collected Stories
Laura Linney - Time Stands Still
Jan Maxwell - The Royal Family

Best Performance by a Leading Actor in a Musical
Kelsey Grammer - La Cage Aux Folles
Sean Hayes - Promises, Promises
Douglas Hodge - La Cage Aux Folles Will Win
Chad Kimball - Memphis
Sahr Ngaujah - Fela! Should Win

Best Performance by a Leading Actress in a Musical
Kate Baldwin - Finian's Rainbow
Sherie Rene Scott - Everyday Rapture
Montego Glover - Memphis Should Win
Christiane Noll - Ragtime
Catherine Zeta-Jones - A Little Night Music Will Win

Best Performance by a Featured Actor in a Play
David Alan Grier - Race
Stephen McKinley Henderson - Fences
Jon Michael Hill - Superior Donuts Should Win/Will Win
Stephen Kunken - Enron
Eddie Redmayne - Red

Best Performance by a Featured Actress in a Play
Maria Dizzia - In the Next Room (Or The Vibrator Play)
Rosemary Harris - The Royal Family
Jessica Hecht - A View From The Bridge
Scarlett Johansson - A View From The Bridge
Jan Maxwell - Lend Me A Tenor Should Win/Will Win

Best Performance by a Featured Actor in a Musical
Kevin Chamberlin - The Addams Family Should Win
Robin De Jesús - La Cage Aux Folles
Christopher Fitzgerald - Finian's Rainbow
Levi Kreis - Million Dollar Quartet
Bobby Steggert - Ragtime Will Win

Best Performance by a Featured Actress in a Musical
Barbara Cook - Sondheim On Sondheim
Katie Finneran - Promises, Promises Should Win/Will Win
Angela Lansbury - A Little Night Music
Karine Plantadit - Come Fly Away
Lillias White - Fela!

Best Direction of a Play
Michael Grandage - Red Should Win/Will Win
Sheryl Kaller - Next Fall
Kenny Leon - Fences
Gregory Mosher - A View from the Bridge

Best Direction of a Musical
Christopher Ashley - Memphis
Marcia Milgrom Dodge - Ragtime
Terry Johnson - La Cage Aux Folles Will Win
Bill T. Jones - Fela! Should Win

Best Choreography
Rob Ashford - Promises, Promises
Bill T. Jones - Fela! Should Win
Lynne Page - La Cage Aux Folles
Twyla Tharp - Come Fly Away Will Win

Best Orchestrations
Jason Carr - La Cage Aux Folles Will Win
Aaron Johnson - Fela! Should Win
Jonathan Tunick - Promises, Promises
Daryl Waters & David Bryan - Memphis

Best Scenic Design of a Play
John Lee Beatty - The Royal Family Should Win
Alexander Dodge - Present Laughter
Santo Loquasto - Fences
Christopher Oram - Red Will Win

Best Scenic Design of a Musical
Marina Draghici - Fela!
Christine Jones - American Idiot Should Win/Will Win
Derek McLane - Ragtime
Tim Shortall - La Cage aux Folles

Best Costume Design of a Play
Martin Pakledinaz - Lend Me a Tenor
Constanza Romero - Fences
David Zinn - In The Next Room (Or The Vibrator Play)
Catherine Zuber - The Royal Family Should Win/Will Win

Best Costume Design of a Musical
Marina Draghici - Fela! Should Win
Paul Tazewell - Memphis
Matthew Wright - La Cage Aux Folles Will Win

Best Lighting Design of a Play
Neil Austin - Hamlet
Neil Austin - Red Will Win
Mark Henderson - Enron Should Win
Brian MacDevitt - Fences

Best Lighting Design of a Musical
Kevin Adams - American Idiot Should Win
Donald Holder - Ragtime
Nick Richings - La Cage Aux Folles Will Win
Robert Wierzel - Fela!

Best Sound Design of a Play
Acme Sound Partners - Fences
Adam Cork - Enron Should Win/Will Win
Adam Cork - Red
Scott Lehrer - A View from the Bridge

Best Sound Design of a Musical
Jonathan Deans - La Cage Aux Folles Will Win
Robert Kaplowitz - Fela! Should Win
Dan Moses Schreier and Gareth Owen - A Little Night Music
Dan Moses Schreier - Sondheim On Sondheim

Do my picks for this year's Tony Awards match yours? Let me know.

Tune in to CBS this Sunday, June 13, when Sean Hayes hosts the three-hour live broadcast.

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.

Labels: Bobby Steggert, Fences, Jon Michael Hill, La Cage Aux Folles, Memphis, Ragtime, Red, Superior Donuts, Tony Awards, Tony Predictions

posted by Steve On Broadway (SOB) @ Wednesday, June 09, 2010 3 comments

Memphis (The SOB Review)

Memphis (The SOB Review) - Shubert Theatre, New York, New York

*** (out of ****)

If you like seeing all your money up on the stage, run, don't walk, to see Joe DiPietro and David Bryan's rhythmically-infused Memphis. With a whole heck of a lot of hockadoo, it's almost impossible to contain.

With slick, fast-paced direction from Christopher Ashley, rousing and impeccable cast, tuneful score, sizzling choreography (Sergio Trujillo) and a visually stunning scenic design (David Gallo) that's augmented with equally astonishing projections (Gallo and Shawn Sagady), Memphis is a dazzling destination worth the trip.

This original musical recounts the story of an outlandish white deejay Huey Calhoun (Chad Kimball) who attempts to mainstream Beale Street's rhythm and blues and in the process falls in love with one of its top singing denizens Felicia Ferrell (Montego Glover), who happens to be black. Set against the segregated fifties, that makes Huey both a musical pioneer and a trailblazer in flouting the era's ridiculous laws against what was shamefully referred to as miscegenation.

DiPietro brilliantly captures the inherent danger of this time in Tennessee all too well. The risk of two individuals of different colors kissing, let alone even holding hands, could result in tremendous injury or worse. And given the world headlines one neanderthal justice of the peace in Louisiana recently garnered for refusing to marry one such couple, not to mention the ongoing debate over another type of marriage, Memphis resonates on so many levels.

If the second act doesn't exactly measure up to the thoroughly captivating first, it's because it becomes confoundingly incongruous, particularly via a conclusion that defies credulity. And while the story may have you thinking Dreamgirls for its depiction of the rise of R&B and Hairspray for its forthright bridging of our nation's racial divide, Memphis is, if not entirely fresh, a solid crowd pleaser that will have you cheering nevertheless.

Two principal reasons are Kimball and Glover. When I last saw Kimball, he was portraying Milky White -- a cow, no less -- in the wonderful 2002 revival of Into the Woods. Although he's had two other Broadway roles since, Memphis enables him to truly prove his mettle and then some. With a folksy swagger that's a bit reminiscent of Christian Slater, Kimball's Huey is a great ball of fire who can't be extinguished. Then there's Glover's Felicia in which we witness an amazing ascent both for a captivating character and an immensely impassioned new Broadway star. Glover took my breath away.

It's been said that at the very heart of the genre known as rock and roll, you'll find soul. Fortunately, the boundless soul within Memphis has the power to rock your heart.

This is Steve On Broadway (SOB).

Labels: Broadway, Chad Kimball, Christopher Ashley, David Bryan, Joe DiPietro, Memphis, Montego Glover, Musical, Sergio Trujillo, The SOB Review

posted by Steve On Broadway (SOB) @ Tuesday, November 03, 2009 6 comments

Memphis Seeks To Turn The Dial While Turning Up Heat

Memphis Seeks To Turn The Dial While Turning Up Heat

A couple theatrical seasons ago, I decried the color-blind revival of Come Back, Little Sheba for missing an opportunity to highlight the immense struggles mixed race couples had for their very existence back in the 1950s.

Now, with the dawn of the 50s-themed Memphis musical that begins previews tonight at Broadway's Shubert Theatre, perhaps audiences will now have a chance to grasp just how truly difficult it had to have been. With book and lyrics by Joe DiPietro and music by David Bryan, Memphis appears poised to do some of the heavy lifting that all too many well-intentioned, color-blind period revivals choose to ignore or sweep under the rug. In this new tuner, a steamy romance develops between African American singer Felicia Farrell (Montego Glover) and white DJ Huey Calhoun (Chad Kimball) against the unmistakable backdrop of segregation.

Directed by Christopher Ashley and choreographed by Sergio Trujillo, Memphis comes to Broadway by way of both San Diego's La Jolla Playhouse (last year) and Seattle's 5th Avenue Theatre (earlier this year). The cast also includes Derrick Baskin, J. Bernard Calloway, James Monroe Inglehart, Michael McGrath and Cass Morgan.

Memphis is officially described as follows:

Turn up that dial!

From the underground dance clubs of 1950s Memphis, Tennessee, by way of hit runs at the La Jolla Playhouse and Seattle's 5th Avenue Theatre, comes a hot new Broadway musical - inspired by actual events -- with heart, soul and energy to burn.

He's a young, white radio DJ named Huey Calhoun, whose love of music transcends race lines and airwaves. She's a black singer named Felicia Farrell, whose career is on the rise, but who can't break out of segregated clubs. When the two collaborate, her soulful music reaches radio audiences everywhere, and the Golden Era of early rock 'n' roll takes flight. But as things start to heat up, whether the world is really ready for their music -- or their love -- is put to the test.

A thrilling theatrical event that combines Broadway splendor with the roots of rock, Memphis features an original story by Joe DiPietro (I Love You, You're Perfect, Now Change) and a brand-new score with music by Bon Jovi founding member David Bryan. Directing is Tony nominee Christopher Ashley (Xanadu) and choreography is by Sergio Trujillo (Jersey Boys).

Get ready to experience all the exuberance and the emotion...the beauty and the controversy...of a wondrous, defining time in our history.

You're tuning in to Memphis.

While I have never before seen Glover perform, I have seen Kimball ... sort of. Last time I saw him on a Broadway stage was in his debut as Milky White, the cow in the 2002 revival of Into the Woods. Can Glover and Kimball anchor a Broadway show together? Well, count me among those positively intrigued.

Memphis is slated to open at October 19. I've booked my trip to Memphis less than a week later.

This is Steve On Broadway (SOB).

Labels: Broadway, Chad Kimball, Christopher Ashley, David Bryan, Joe DiPietro, Memphis, Montego Glover, Musical, Sergio Trujillo

posted by Steve On Broadway (SOB) @ Wednesday, September 23, 2009 0 comments

Wishing Morgan Freeman The Best

Wishing Morgan Freeman The Best

News reports out of Memphis this morning indicate that Academy Award-winning actor Morgan Freeman was in a very serious car accident last evening in Ruleville, Mississippi, which is about 113 miles south of Memphis.

Memphis' WMC-TV is reporting:

Freeman's vehicle flipped several times before it came to rest. Emergency crews extracted Freeman and his passenger from their vehicle using the jaws of life. They were then both transported to the Regional Medical Center in Memphis. Officials did not release either person's condition.

Just two weeks earlier, the 71 year old Memphis native concluded his first Broadway outing in 20 years as actor Frank Elgin in the revival of Clifford Odets' The Country Girl alongside Frances McDormand and Peter Gallagher.

While most audiences know him from his extensive, award-winning work in film, it's been to Freeman's enormous credit that he's never forgotten his theatrical roots. In addition to his recent return to the Great White Way, he had been acting as honorary chairman of a $15 million capital campaign for Playhouse on the Square in his hometown of Memphis.

I'm sure I'm not alone in keeping this acting legend in thoughts and prayers.

This is Steve On Broadway (SOB).

Labels: Accident, Broadway, Memphis, Morgan Freeman, Play, Playhouse On The Square, Revival, Special Messages, The Country Girl

posted by Steve On Broadway (SOB) @ Monday, August 04, 2008 2 comments