SOB's Fifty Favorite Shows Of The Noughties
SOB's Fifty Favorite Shows Of The Noughtiespleased to present my list of plays and musicals that wowed me the most during the just completed decade. Out of the hundreds and hundreds of shows I've seen over the last ten years, I give you my countdown of my 50 personal favorite shows of the Noughties. 50.
Barry Humphries & Friends: Back With A Vengeance! (Melbourne, Australia)
49.
The Breath Of Life (2002, London, United Kingdom)
48.
Dirty Blonde (2003, San Diego, CA)
47.
An Inspector Calls (2001, London, United Kingdom)
46.
Dirty Rotten Scoundrels (2005, New York City, NY)
45.
Mary Poppins (2004, London, United Kingdom)
44.
The Unmentionables (2006, Chicago, IL)
43.
The Women (2001, New York, NY)
42.
Sonia Flew (2006, Chicago, IL)
41.
One Flew Over The Cuckoo's Nest (2001, New York City, NY)
40.
Sweeney Todd, The Demon Barber of Fleet Street (2006, New York City, NY)
39.
Reeling (2006, Minneapolis, MN)
38.
Ivanov (2008, London, United Kingdom)
37
The Real Thing (2006, Minneapolis, MN)
36.
The Best Man (2000, New York City, NY)
35.
The Full Monty (2009, St. Paul, MN)
34.
The Well-Appointed Room (2006, Chicago, IL)
33.
A Catered Affair (2008, New York City, NY)
32.
A Blameless Life (2005, Chicago, IL)
31.
Brighton Beach Memoirs (2009, New York City, NY)
30.
Hairspray (2002, Seattle, WA/2008, New York City, NY)
29.
The Car Man (2001, St. Paul, MN)
28.
Purple Heart (2002, Chicago, IL)
27.
Into The Woods (2002, New York City, NY)
26.
Hedda Gabler (2006, New York City, NY)
25.
Nine (2003, New York City, NY)
24.
Superior Donuts (2008, Chicago, IL/2009, New York City, NY)
23.
Grey Gardens (2007, New York City, NY)
22.
Twelfth Night (2009, New York City, NY)
21.
My Fair Lady (2001, London, United Kingdom)
20.
Small Tragedy (2003, Minneapolis, MN)
19.
Guys And Dolls (2005, London, United Kingdom)
18.
Long Day's Journey Into Night (2003, New York City, NY)
17.
Ruined (2009, New York City, NY)
16.
The Producers (2002, New York City, NY)
15.
Evita (2007, London, United Kingdom)
14.
The Beatles Love (2007, Las Vegas, NV)
13.
Passing Strange (2008, New York City, NY)
12.
Dreamgirls (2007, Atlanta, GA)
11.
Theatre Of The New Ear (2005, Los Angeles, CA)
10.
A Little Night Music (2008, London, United Kingdom)
9.
Wicked (2003, New York City, NY)
8.
La Bohème (2002, New York City, NY)
7.
Gypsy (2008, New York City, NY)
6.
Our Town (2009, New York City, NY)
5.
The Last Five Years (2003, Philadelphia, PA)
4.
Doubt (2005, New York City, NY)
3.
Assassins (2004, New York City, NY)
2.
The Norman Conquests (2009, New York City, NY)
1.
August: Osage County (2007, Chicago, IL/2008, New York City, NY/2008, London, United Kingdom)
In the days to come, I'll be looking
forward to what's to come in this new decade. Happy New Year!
This is Steve On Broadway (SOB).
In keeping with the new that unfairly discriminate against bloggers, who are now required by law to disclose when they have received anything of value they might write about, please note that I have received nothing of value in exchange for this post. I paid my own way for each of these performances.Labels: August Osage County, Broadway, Musicals, Play, Revival, SOB's Favorite Shows Of The Noughties, The Norman Conquests
SOB's Favorite Shows Of The Noughties: #1 - August: Osage County (2007, Downstairs Theatre, Steppenwolf, Chicago, IL/2008, Imperial Theatre, New York City, NY/2008, Music Box Theatre, New York City, NY/2008, Lyttelton Theatre, National Theatre, London, United Kingdom)
Introduction: Hard as it is to comprehend that we're already 119 months into this "new" millennium, we are fast approaching the end of its first decade. While we have yet to agree on what exactly we should call the '00s, I'll take a cue from the fine folks at The Times of London and the BBC and henceforth refer to them at the Noughties. With that small introduction, I'm pleased to present my list of plays and musicals that wowed me the most during that time. Out of the hundreds and hundreds of shows I've seen over the last ten years, I give you my countdown of my 25 personal favorite shows of the Noughties. Was there any doubt that
August: Osage County would ranks as my favorite show of the decade?
Since
first being blown away in the Windy City by
Tracy Letts' Pulitzer Prize-winning masterpiece back in (appropriately enough) August 2007, I've devoted considerable space to the best-written, best-acted play I've ever seen at Chicago's
Steppenwolf, and that's no small feat.
In
August: Osage County, Letts has constructed an absolutely brilliant, riotous script that provided for one stellar performance after another by its excellent ensemble. During its acclaimed Broadway run, the play ran even deeper, packing a more lethal, visceral punch than what I saw in Chicago, hitting even harder with greater precision that I would not have even thought possible. Credit
Anna D. Shapiro for sharpening this play into a razor-sharp, whip-smart American classic. It was even funnier, too.
In London, it took on additional shadings for me as an indictment on American society for the many grievances that came to roost as our economy went over a cliff.
Deanna Dunagan (Violet) delivered a bravura performance for the ages as the matriarch of the Weston clan. But she was matched by an equally stunning ensemble, with
Amy Morton giving as good as she got, and even better, as Violet's daughter Barbara;
Rondi Reed's Mattie Fae was likely to remind you of your favorite, if she wasn't so crazy, aunt; and
Francis Guinan as Mattie Fae's long-suffering husband Charlie offered a sweet dignity to the proceedings, especially when tempered by one of the play's many revelations exposing the startling truth about his own son.
Since first seeing the show in Chicago, I've known that I had witnessed something very, very special in the world of live theatre. Upon considerable reflection, I can attest that this is the best new theatrical work I've seen over the last ten years. It most certainly was almost my personal favorite of the decade.
This is Steve On Broadway (SOB).
In keeping with the new that unfairly discriminate against bloggers, who are now required by law to disclose when they have received anything of value they might write about, please note that I have received nothing of value in exchange for this post. I paid my own way for each of these performances.Labels: Amy Morton, Anna D Shapiro, August Osage County, Broadway, Chicago, Deanna Dunagan, Francis Guinan, Rondi Reed, SOB's Favorite Shows Of The Noughties, Steppenwolf, Tracy Letts
SOB's Favorite Shows Of The Noughties: #2 - The Norman Conquests (2004, Circle in the Square Theatre, New York City, NY)
Introduction: Hard as it is to comprehend that we're already 119 months into this "new" millennium, we are fast approaching the end of its first decade. While we have yet to agree on what exactly we should call the '00s, I'll take a cue from the fine folks at The Times of London and the BBC and henceforth refer to them at the Noughties. With that small introduction, I'm pleased to present my list of plays and musicals that wowed me the most during that time. Out of the hundreds and hundreds of shows I've seen over the last ten years, I give you my countdown of my 25 personal favorite shows of the Noughties. Alan Ayckbourn's uproariously hilarious
The Norman Conquests cut with remarkable, exacting precision, but it also sliced and diced its six fully-rounded characters in this jujitsu of love.
Just when you thought you had the first portion of this trilogy figured out, one intriguing layer after another was carefully stripped away to reveal more of Ayckbourn's intricately woven story. Each character's motives were eventually cut to the core. And they weren't necessarily what they seemed.
Matthew Warchus' brilliant direction of each installment --
Table Manners,
Living Together and
Round And Round The Garden -- made each story accessible and comprehensible in its own right. Yet it's only after seeing all three marathon-style that all the complex pieces truly came together as an unequivocal masterpiece.
Rising to the challenge of Ayckbourn's pure genius, Warchus helmed an excellent cast offering a breathtaking master class in nuanced ensemble acting. Each actor so fully inhabits his or her character that their exceptional use of body language was amplified just as effortlessly as their voices, which was critically important given that this show was in the round.
Not only did I find myself on the edge of my seat, but miraculously, I found myself never wanting it to end. Every bit bit as funny as it was sublime,
The Norman Conquests was the best revival I've seen on Broadway or anywhere else over the last decade.
This is Steve On Broadway (SOB).
In keeping with the new that unfairly discriminate against bloggers, who are now required by law to disclose when they have received anything of value they might write about, please note that I have received nothing of value in exchange for this post. I paid my own way for the three performances that comprise The Norman Conquests.Labels: Alan Ayckbourn, Matthew Warchus, Play, Revival, SOB's Favorite Shows Of The Noughties, The Norman Conquests
SOB's Favorite Shows Of The Noughties: Fifty Through ThreeIntroduction: Hard as it is to comprehend that we're already 119 months into this "new" millennium, we are fast approaching the end of its first decade. While we have yet to agree on what exactly we should call the '00s, I'll take a cue from the fine folks at The Times of London and the BBC and henceforth refer to them at the Noughties. With that small introduction, I'm pleased to present my list of plays and musicals that wowed me the most during that time. Out of the hundreds and hundreds of shows I've seen over the last ten years, I give you my countdown of my 50 personal favorite shows of the Noughties. 50.
Barry Humphries & Friends: Back With A Vengeance! (Melbourne, Australia)
49.
The Breath Of Life (2002, London, United Kingdom)
48.
Dirty Blonde (2003, San Diego, CA)
47.
An Inspector Calls (2001, London, United Kingdom)
46.
Dirty Rotten Scoundrels (2005, New York City, NY)
45.
Mary Poppins (2004, London, United Kingdom)
44.
The Unmentionables (2006, Chicago, IL)
43.
The Women (2001, New York, NY)
42.
Sonia Flew (2006, Chicago, IL)
41.
One Flew Over The Cuckoo's Nest (2001, New York City, NY)
40.
Sweeney Todd, The Demon Barber of Fleet Street (2006, New York City, NY)
39.
Reeling (2006, Minneapolis, MN)
38.
Ivanov (2008, London, United Kingdom)
37
The Real Thing (2006, Minneapolis, MN)
36.
The Best Man (2000, New York City, NY)
35.
The Full Monty (2009, St. Paul, MN)
34.
The Well-Appointed Room (2006, Chicago, IL)
33.
A Catered Affair (2008, New York City, NY)
32.
A Blameless Life (2005, Chicago, IL)
31.
Brighton Beach Memoirs (2009, New York City, NY)
30.
Hairspray (2002, Seattle, WA/2008, New York City, NY)
29.
The Car Man (2001, St. Paul, MN)
28.
Purple Heart (2002, Chicago, IL)
27.
Into The Woods (2002, New York City, NY)
26.
Hedda Gabler (2006, New York City, NY)
25.
Nine (2003, New York City, NY)
24.
Superior Donuts (2008, Chicago, IL/2009, New York City, NY)
23.
Grey Gardens (2007, New York City, NY)
22.
Twelfth Night (2009, New York City, NY)
21.
My Fair Lady (2001, London, United Kingdom)
20.
Small Tragedy (2003, Minneapolis, MN)
19.
Guys And Dolls (2005, London, United Kingdom)
18.
Long Day's Journey Into Night (2003, New York City, NY)
17.
Ruined (2009, New York City, NY)
16.
The Producers (2002, New York City, NY)
15.
Evita (2007, London, United Kingdom)
14.
The Beatles Love (2007, Las Vegas, NV)
13.
Passing Strange (2008, New York City, NY)
12.
Dreamgirls (2007, Atlanta, GA)
11.
Theatre Of The New Ear (2005, Los Angeles, CA)
10.
A Little Night Music (2008, London, United Kingdom)
9.
Wicked (2003, New York City, NY)
8.
La Bohème (2002, New York City, NY)
7.
Gypsy (2008, New York City, NY)
6.
Our Town (2009, New York City, NY)
5.
The Last Five Years (2003, Philadelphia, PA)
4.
Doubt (2005, New York City, NY)
3.
Assassins (2004, New York City, NY)
Tomorrow, I'll reveal my second most favorite show of the past decade, followed on New Year's Eve by my absolute favorite of the past ten years. Any guesses on the top two?!
This is Steve On Broadway (SOB).
In keeping with the new that unfairly discriminate against bloggers, who are now required by law to disclose when they have received anything of value they might write about, please note that I have received nothing of value in exchange for this post. I paid my own way for each of these performances.Labels: Broadway, Musicals, Play, SOB's Favorite Shows Of The Noughties
SOB's Favorite Shows Of The Noughties: #3 - Assassins (2004, Studio 54, Roundabout Theatre Company, New York City, NY)
Introduction: Hard as it is to comprehend that we're already 119 months into this "new" millennium, we are fast approaching the end of its first decade. While we have yet to agree on what exactly we should call the '00s, I'll take a cue from the fine folks at The Times of London and the BBC and henceforth refer to them at the Noughties. With that small introduction, I'm pleased to present my list of plays and musicals that wowed me the most during that time. Out of the hundreds and hundreds of shows I've seen over the last ten years, I give you my countdown of my 25 personal favorite shows of the Noughties. If nothing else,
Assassins proved to be definitely ahead of its time. This
Joe Mantello-helmed
Stephen Sondheim revival was nearly sidelined indefinitely as a result of 9/11.
Thankfully, this tour-de-force morality musical on America’s real and would-be assassins really hit the mark, with excellent performances all around. Standouts included Tony-winner
Michael Cerveris (John Wilkes Booth),
Denis O'Hare (Charles J. Guiteau) and
Jeffrey Kuhn (Giuseppe Zangara).
But
Neil Patrick Harris’ harrowing transformation from Balladeer to Lee Harvey Oswald was especially chilling. It's a pity it came and went so quickly. But thankfully, the tuner was recorded for posterity, and my CD is nearly worn out from so much play.
This is Steve On Broadway (SOB).
In keeping with the new that unfairly discriminate against bloggers, who are now required by law to disclose when they have received anything of value they might write about, please note that I have received nothing of value in exchange for this post. I paid my own way for this performance.Labels: Assassins, Broadway, Denis O'Hare, Jeffrey Kuhn, Joe Mantello, Michael Cerveris, Musical, Neil Patrick Harris, Revival, SOB's Favorite Shows Of The Noughties, Stephen Sondheim
SOB's Favorite Shows Of The Noughties: #4 - Doubt (2005, Walter Kerr Theatre, New York City, NY)
Introduction: Hard as it is to comprehend that we're already 119 months into this "new" millennium, we are fast approaching the end of its first decade. While we have yet to agree on what exactly we should call the '00s, I'll take a cue from the fine folks at The Times of London and the BBC and henceforth refer to them at the Noughties. With that small introduction, I'm pleased to present my list of plays and musicals that wowed me the most during that time. Out of the hundreds and hundreds of shows I've seen over the last ten years, I give you my countdown of my 25 personal favorite shows of the Noughties. Was there ever any
Doubt that
John Patrick Shanley's extraordinary morality play would appear on my favorites list for the last decade?
Brían F. O'Byrne and Tony-winner
Cherry Jones sparred sensationally as Father Flynn and Sister Aloysius in this compelling drama that left us debating, “Did he or didn’t he?” long after our departure from the theatre.
Heather Goldenhersh and
Adriane Lenox, who won a Tony for her ethically-challenged mother, rounded out this excellent cast.
Superbly constructed by Shanley and directed with exacting precision by
Doug Hughes, it wasn’t hard to understand why
Doubt received the 2005 Tony Award for Best Play along with a Pulitzer Prize.
This is Steve On Broadway (SOB).
In keeping with the new that unfairly discriminate against bloggers, who are now required by law to disclose when they have received anything of value they might write about, please note that I have received nothing of value in exchange for this post. I paid my own way for this performance.Labels: Adriane Lenox, Brian F. O'Byrne, Broadway, Cherry Jones, Doubt, Doug Hughes, Heather Goldenhersch, John Patrick Shanley, Play, SOB's Favorite Shows Of The Noughties
SOB's Favorite Shows Of The Noughties: #5 - The Last Five Years (2003, Philadelphia Theatre Company, Plays & Players Theatre, Philadelphia, PA)
Introduction: Hard as it is to comprehend that we're already 119 months into this "new" millennium, we are fast approaching the end of its first decade. While we have yet to agree on what exactly we should call the '00s, I'll take a cue from the fine folks at The Times of London and the BBC and henceforth refer to them at the Noughties. With that small introduction, I'm pleased to present my list of plays and musicals that wowed me the most during that time. Out of the hundreds and hundreds of shows I've seen over the last ten years, I give you my countdown of my 25 personal favorite shows of the Noughties. The original and Off-Broadway versions of
Jason Robert Brown's ingenious musical
The Last Five Years came and went before I had an opportunity to see them. Yet on a complete lark, I found myself at Philadelphia's intimate
Plays and Players Theatre in early 2003 and fell in love with this captivating two-hander about falling in and out of love.
While vaguely reminiscent of
Stephen Sondheim's underrated
Merrily We Roll Along,
The Last Five Years ups the ante by literally and effortlessly telling the story of lost love backwards
and forwards. Although that might make your head spin, I was dizzy with delight from
Joe Calarco's brilliant direction,
Michael Clark's spellbinding projection design and the remarkable
Nicole van Giesen as Cathy and the wonderful
Wayne Wilcox as her husband Jamie.
Over five years after first swooning to this musical and its intelligent, ravishing score,
The Last Five Years remains one of the best shows I've ever seen.
This is Steve On Broadway (SOB).
In keeping with the new that unfairly discriminate against bloggers, who are now required by law to disclose when they have received anything of value they might write about, please note that I have received nothing of value in exchange for this post. I paid my own way for this performance.Labels: Jason Robert Brown, Joe Calarco, Michael Clark, Musical, Nicole Van Giesen, Philadelphia, SOB's Favorite Shows Of The Noughties, The Last Five Years, Wayne Wilcox
SOB's Favorite Shows Of The Noughties: #6 - Our Town (2009, Barrow Street Theatre, New York City, NY)
Introduction: Hard as it is to comprehend that we're already 119 months into this "new" millennium, we are fast approaching the end of its first decade. While we have yet to agree on what exactly we should call the '00s, I'll take a cue from the fine folks at The Times of London and the BBC and henceforth refer to them at the Noughties. With that small introduction, I'm pleased to present my list of plays and musicals that wowed me the most during that time. Out of the hundreds and hundreds of shows I've seen over the last ten years, I give you my countdown of my 25 personal favorite shows of the Noughties. Think you've seen
Thornton Wilder’s classic stage drama
Our Town enough times to last a lifetime? If so, then it's likely you've never seen this stunning revival.
Our Town has never looked better.
Stripped down to its bare essentials by director
David Cromer, this exquisite mounting that transferred from Chicago to Off-Broadway moves all about the audience with an unforced urgency. It's hard to imagine live theatre could get anymore intimate than this. Wilder’s heartfelt words never seemed truer or more genuine, which is refreshing considering how
Michele Spadaro's deceptively spare stage design gives way to one last breath of real life, which itself ultimately proves a veritable feast for and in all senses.
Making the case against living in the past and savoring every moment of our lives, this mind-blowing production simply can’t be missed. Go see
Our Town, especially now that Cromer is back in the show through January 3.
This is Steve On Broadway (SOB).
In keeping with the new that unfairly discriminate against bloggers, who are now required by law to disclose when they have received anything of value they might write about, please note that I have received nothing of value in exchange for this post. I paid my own way for this performances.Labels: David Cromer, Off-Broadway, Our Town, Play, Revival, SOB's Favorite Shows Of The Noughties, Thornton Wilder
SOB's Favorite Shows Of The Noughties: #7 - Gypsy(2008, St. James Theatre, New York City, NY)
Introduction: Hard as it is to comprehend that we're already 119 months into this "new" millennium, we are fast approaching the end of its first decade. While we have yet to agree on what exactly we should call the '00s, I'll take a cue from the fine folks at The Times of London and the BBC and henceforth refer to them at the Noughties. With that small introduction, I'm pleased to present my list of plays and musicals that wowed me the most during that time. Out of the hundreds and hundreds of shows I've seen over the last ten years, I give you my countdown of my 25 personal favorite shows of the Noughties. Gangway world, get off of my superlatives! Suddenly, highfalutin' words like "excellent," "superb" and "top-notch" just didn't seem sufficient enough to adequately describe the unique experience of seeing the incredible
Arthur Laurents-helmed revival of
Gypsy that played Broadway last year.
Never had I enjoyed myself more or been so thoroughly entertained by a Rialto musical experience ...
ever. This was most definitely a performance for the ages. To see it was to witness theatrical history being made (including the penultimate performance of the show earlier this year .... yes,
I was there then, too).
The beauty of this fully-realized Broadway revival was that every breathtaking performance from start to finish matched that offered by the truly astonishing
Patti LuPone, who made her Rose at once sympathetic, conniving, sexy, funny, tragic and repulsive all at the same time. Add to that poignant portrayals -- the stunning metamorphosis of Louise offered by
Laura Benanti in her best performance yet, and the completely credible, quiet dignity in
Boyd Gaines' sympathetic take on Herbie -- and those fortunate enough to see this incarnation saw the classic musical the way it was truly intended to be seen.
This is Steve On Broadway (SOB).
In keeping with the new that unfairly discriminate against bloggers, who are now required by law to disclose when they have received anything of value they might write about, please note that I have received nothing of value in exchange for this post. I paid my own way for these performances.Labels: Arthur Laurents, Boyd Gaines, Broadway, Gypsy, Laura Benanti, Musical, Patti LuPone, Revival, SOB's Favorite Shows Of The Noughties
SOB's Favorite Shows Of The Noughties: #8 - La Bohème (2002, Broadway Theatre, New York City, NY)
Introduction: Hard as it is to comprehend that we're already 119 months into this "new" millennium, we are fast approaching the end of its first decade. While we have yet to agree on what exactly we should call the '00s, I'll take a cue from the fine folks at The Times of London and the BBC and henceforth refer to them at the Noughties. With that small introduction, I'm pleased to present my list of plays and musicals that wowed me the most during that time. Out of the hundreds and hundreds of shows I've seen over the last ten years, I give you my countdown of my 25 personal favorite shows of the Noughties. Credit inventive film director
Baz Luhrmann with a spellbinding genius for turning
La Bohème, one of the most enduring of operas, into a thoroughly accessible and excellent Broadway theatrical event, thanks in part to its unobstrusive overtitles.
Not since Dorothy landed in Oz have I witnessed as glorious a transformation from black and white to full blown color as I did during this ravishing production. The ingenious designs from
Catherine Martin,
Angus Strathie and
Nigel Levings popped at the very moment when love burst into full bloom.
The magnificent music from
Giacomo Puccini and libretto from
Giuseppe Giacosa and
Luigi Illica helped make believers out of those previously unitiated by opera and
Rent-heads alike.
This is Steve On Broadway (SOB).
In keeping with the new that unfairly discriminate against bloggers, who are now required by law to disclose when they have received anything of value they might write about, please note that I have received nothing of value in exchange for this post. I paid my own way for this performance.
Labels: Baz Luhrmann, Broadway, Catherine Martin, Giacomo Puccini, La Boheme, Opera, Rent, SOB's Favorite Shows Of The Noughties
SOB's Favorite Shows Of The Noughties: #9 - Wicked (2003, George Gershwin Theatre, New York City, NY/2005, Oriental Theatre, Chicago, IL/2006, Orpheum Theatre, Minneapolis, MN/2007, Apollo Victoria Theatre, London, United Kingdom/2007, Palladium Theater, Stuttgart, Germany/2007, Shiki Theatre, Tokyo, Japan/2008, Regent Theatre, Melbourne, Australia/2009, Orpheum Theatre, San Francisco, CA/2009, Civic Center Main Stage, Des Moines, IA)
Introduction: Hard as it is to comprehend that we're already 119 months into this "new" millennium, we are fast approaching the end of its first decade. While we have yet to agree on what exactly we should call the '00s, I'll take a cue from the fine folks at The Times of London and the BBC and henceforth refer to them at the Noughties. With that small introduction, I'm pleased to present my list of plays and musicals that wowed me the most during that time. Out of the hundreds and hundreds of shows I've seen over the last ten years, I give you my countdown of my 25 personal favorite shows of the Noughties. Perhaps it's appropriate that the musical I've seen in nine different venues on four different continents would blow in at number nine on my favorites list.
Wicked may not have scored big with critics, but it certainly did with my Love Of My Life (LOML) and me. And those witches? Well, they're cackling all the way to the bank.
Seeing
Idina Menzel and
Kristin Chenoweth as Elphaba and Glinda, respectively, just two days after
Wicked opened, my LOML and I were both positively charmed by the story that took the beloved classic “
The Wizard Of Oz” and cleverly spun it on its head. While we were completely mesmerized by Chenoweth in such numbers as “Popular” and Menzel in “Defying Gravity,” we have also been wowed by countless other leading ladies taking on these now iconic roles, even they were performing in other languages like German and Japanese.
It's no wonder this captivating show continues to soar with productions spanning the globe. In fact, it's such an audience favorite that
Wicked is now the
twentieth longest running show in Broadway history. Congratulotions, indeed!
This is Steve On Broadway (SOB).
In keeping with the new that unfairly discriminate against bloggers, who are now required by law to disclose when they have received anything of value they might write about, please note that I have received nothing of value in exchange for this post. I paid my own way for this performance.
Labels: Broadway, Idina Menzel, Kristen Chenoweth, London, Melbourne, Musical, SOB's Favorite Shows Of The Noughties, Stuttgart, Tokyo, Wicked
SOB's Favorite Shows Of The Noughties: #10 - A Little Night Music
SOB's Favorite Shows Of The Noughties: #10 - A Little Night Music (2008, Menier Chocolate Factory, London, United Kingdom)
Introduction: Hard as it is to comprehend that we're already 119 months into this "new" millennium, we are fast approaching the end of its first decade. While we have yet to agree on what exactly we should call the '00s, I'll take a cue from the fine folks at The Times of London and the BBC and henceforth refer to them at the Noughties. With that small introduction, I'm pleased to present my list of plays and musicals that wowed me the most during that time. Out of the hundreds and hundreds of shows I've seen over the last ten years, I give you my countdown of my 25 personal favorite shows of the Noughties. Wasn't
this rich?! Who would have thought that a show staged in a style so deceptively simple could be so sublime, not to mention utterly romantic. Rich, indeed.
Now, if you're not a romantic at heart, you need not have bothered. But for the rest of us, there was the pure heaven found in
Trevor Nunn's gorgeous revival of
A Little Night Music. It enveloped every one of my senses like a welcome salve for these troubled times. Only a heart of stone could not be moved by
Stephen Sondheim's ravishing score and
Hugh Wheeler's über-clever book.
Thanks to Nunn's deft and gentle touch, this
tale of requited love in turn-of-the-20th-Century Sweden felt timeless, transcending all expectations. It made me feel a twinge in my heart and left a tear in my eye. While I have not yet seen the
current Broadway transfer (I will do so in January), the intimacy of the tiny Menier made this a revival utterly unmissable on both sides of the Atlantic.
This is Steve On Broadway (SOB).
In keeping with the new that unfairly discriminate against bloggers, who are now required by law to disclose when they have received anything of value they might write about, please note that I have received nothing of value in exchange for this post. I paid my own way for this performance.Labels: A Little Night Music, Hugh Wheeler, Musical, Revival, SOB's Favorite Shows Of The Noughties, Stephen Sondheim, Trevor Nunn
SOB's Favorite Shows Of The Noughties: #11 - Theater Of The New Ear (2005, Royce Hall, UCLA, Los Angeles, CA)
Introduction: Hard as it is to comprehend that we're already 119 months into this "new" millennium, we are fast approaching the end of its first decade. While we have yet to agree on what exactly we should call the '00s, I'll take a cue from the fine folks at The Times of London and the BBC and henceforth refer to them at the Noughties. With that small introduction, I'm pleased to present my list of plays and musicals that wowed me the most during that time. Out of the hundreds and hundreds of shows I've seen over the last ten years, I give you my countdown of my 25 personal favorite shows of the Noughties. Any filmgoer who has watched in awe (or for the less fortunate, in exasperation) as one of gifted screenwriter
Charlie Kaufman’s twisted movies unfolds -- usually inside-out, upside-down and liberally sprinkled with the surreal -- knows that his captivating storytelling is never dull.
Theater Of The New Ear was all that and more.
With a radio-like production quality, its cast members sat on an unadorned stage reading scripts of two “sound” plays as a Foley artist magically transported the audience beyond the limits of their imaginations. But with a stellar cast that included
Jennifer Jason Leigh and
David Thewlis (together in "Anomalisa"), as well as
Peter Dinklage,
Hope Davis and
Meryl Streep (together in "Hope Leaves The Theater"), it was foolhardy to even attempt diverting one’s eyes from the stage.
Part of the fun is seeing these immensely gifted actors also playing members of the audience, including Davis’ hilarious and self-obsessed Louise, whose ringing cell phone serves as the catalyst for Streep -- as Streep -- to go ballistic in a fashion that would make any regular theatregoer proud. This dizzying, frenetic play left me downright giddy and more than sufficiently underscores why Streep remains the preeminent actress of our times.
This is Steve On Broadway (SOB).
In keeping with the new that unfairly discriminate against bloggers, who are now required by law to disclose when they have received anything of value they might write about, please note that I have received nothing of value in exchange for this post. I paid my own way for this performance.Labels: Charlie Kaufman, Hope Davis, Los Angeles, Meryl Streep, Peter Dinklage, Play, SOB's Favorite Shows Of The Noughties, Theater Of The New Ear
SOB's Favorite Shows Of The Noughties: #12 - Dreamgirls (2007, Fox Theatre, Atlanta, GA)
Introduction: Hard as it is to comprehend that we're already 119 months into this "new" millennium, we are fast approaching the end of its first decade. While we have yet to agree on what exactly we should call the '00s, I'll take a cue from the fine folks at The Times of London and the BBC and henceforth refer to them at the Noughties. With that small introduction, I'm pleased to present my list of plays and musicals that wowed me the most during that time. Out of the hundreds and hundreds of shows I've seen over the last ten years, I give you my countdown of my 25 personal favorite shows of the Noughties. Tempting fate by returning once more to the role that made her a star over a generation ago,
Jennifer Holliday succeeded in proving yet again that she is the quintessential Effie Melody White. In the summer 2007 Atlanta revival of
Dreamgirls, the incomparable Holliday seemed to relish further substantiating that she and Effie are not going to take a backseat to anyone. In a glorious and absolutely thrilling performance, not only did Jennifer Holliday triumphantly reclaim the mantle of Effie Melody White, but she reigned supreme.
While Holliday alone would have made this
Dreamgirls dazzle, she was not alone in providing some truly magical and electrifying performances. In fact, the moment I realized this revival would be otherworldly was at the onset of “Steppin’ To The Bad Side” when the foursome of Curtis Taylor Jr. (
David Jennings), C.C. White (
Destan Owens), James Thunder Early (
Eugene Fleming) and Wayne (
James Harkness) sent the first, palpable jolt of energized lightning ricocheting through the receptive audience, thanks in part due to
Kevyn Morrow’s supercharged choreography.
With an audience already overcome with pure unadulterated excitement, Holliday’s delivery of “And I’m Telling You I’m Not Going” became particularly potent on stage. Somehow, Holliday pulled this incredible outpouring of heartbroken anguish from the deepest, innermost recesses of her very being and spewed it forth in as chilling a show-stopping performance as I have ever seen. For me, seeing this
Dreamgirls was a chance to once again witness one of the greatest live theatrical performances of all time and truly savor it.
This is Steve On Broadway (SOB).
In keeping with the new that unfairly discriminate against bloggers, who are now required by law to disclose when they have received anything of value they might write about, please note that I have received nothing of value in exchange for this post. I paid my own way for this performance.Labels: Atlanta, Dreamgirls, Jennifer Holliday, Musical, Revival, SOB's Favorite Shows Of The Noughties
SOB's Favorite Shows Of The Noughties: #13 - Passing Strange (2008, Belasco Theatre, New York City, NY)
Introduction: Hard as it is to comprehend that we're already 119 months into this "new" millennium, we are fast approaching the end of its first decade. While we have yet to agree on what exactly we should call the '00s, I'll take a cue from the fine folks at The Times of London and the BBC and henceforth refer to them at the Noughties. With that small introduction, I'm pleased to present my list of plays and musicals that wowed me the most during that time. Out of the hundreds and hundreds of shows I've seen over the last ten years, I give you my countdown of my 25 personal favorite shows of the Noughties. Last year's absolute best, most cosmic musical was also the most unusual and unexpected, and yet somehow oh so real.
Passing Strange succeeded in taking the Great White Way in an entirely new, infinitely intelligent direction, compliments of a musician named
Stew. This exacting artist took us on a wild trip in quasi-strolling minstrel style, expertly telling the story of his own formative adult years with such humor, passion and grace that I found myself tearing up many times over as chills shot down my spine.
Stew's storytelling alter ego, Youth, was played with awkward charm by
Daniel Breaker, a sensationally expressive new stage star in an astonishing breakthrough role. Breaker was duly honored with a well-deserved Tony nomination.
Often veering toward the existential when it's not reminding you of "The Wizard Of Oz," Stew's ethereal odyssey wasn't as much about saying "there's no place like home" as it was reassuring you that you actually can go home again. I couldn't help but fall head over heels in love with this smoke-hazed tale.
This is Steve On Broadway (SOB).
In keeping with the new that unfairly discriminate against bloggers, who are now required by law to disclose when they have received anything of value they might write about, please note that I have received nothing of value in exchange for this post. I paid my own way for this performance.Labels: Broadway, Daniel Breaker, Musical, Passing Strange, SOB's Favorite Shows Of The Noughties, Stew
SOB's Favorite Shows Of The Noughties: #14 - The Beatles Love (2007, Love Theatre, Mirage, Las Vegas, NV)
Introduction: Hard as it is to comprehend that we're already 119 months into this "new" millennium, we are fast approaching the end of its first decade. While we have yet to agree on what exactly we should call the '00s, I'll take a cue from the fine folks at The Times of London and the BBC and henceforth refer to them at the Noughties. With that small introduction, I'm pleased to present my list of plays and musicals that wowed me the most during that time. Out of the hundreds and hundreds of shows I've seen over the last ten years, I give you my countdown of my 25 personal favorite shows of the Noughties. What was there not to love about the excellent
The Beatles Love? Talk about a mind-blowing, sensory overload event that more than effectively serves as the ultimate showcase for the catalogue of
The Beatles.
Barely settling down long enough to let you catch your breath, the Fab Four's tunes are magically brought to life, incorporating the themes and emotions behind each one. I was entranced throughout the entire production, but renditions of "Rock And Roll Run," "Help" and "Revolution" certainly epitomize who these four lads from Liverpool were and what they came to represent.
This was by far the best
Cirque du Soleil production I have yet to witness. It's in a class all by itself and serves as the best reason why I wouldn't mind returning to Vegas.
This is Steve On Broadway (SOB).
In keeping with the new that unfairly discriminate against bloggers, who are now required by law to disclose when they have received anything of value they might write about, please note that I have received nothing of value in exchange for this post. I paid my own way for this performance.Labels: Cirque du Soleil, Las Vegas, Musical, SOB's Favorite Shows Of The Noughties, The Beatles, The Beatles Love
SOB's Favorite Shows Of The Noughties: #15 - Evita (2007, Adelphi Theatre, London, United Kingdom)
Introduction: Hard as it is to comprehend that we're already 119 months into this "new" millennium, we are fast approaching the end of its first decade. While we have yet to agree on what exactly we should call the '00s, I'll take a cue from the fine folks at The Times of London and the BBC and henceforth refer to them at the Noughties. With that small introduction, I'm pleased to present my list of plays and musicals that wowed me the most during that time. Out of the hundreds and hundreds of shows I've seen over the last ten years, I give you my countdown of my 25 personal favorite shows of the Noughties. To see the best revival of the 2006-07 Theatrical Season, I had to fly across the Atlantic and visit London.
Michael Grandage's West End revival of
Evita was unequivocally stunning. I absolutely adored this high-flying, soaring production. Credit Grandage's direction and choreographer
Rob Ashford with once again revitalizing a musical in a most breathtaking, dazzling manner.
Making her spectacular West End debut was an astonishing Argentine talent,
Elena Roger, who offered an exceptionally nuanced performance as Eva Peron. The compact Roger evolved right before your eyes from the flirtatious young girl seeking her ticket to Buenos Aires stardom to her role alongside Juan Peron to a physically and emotionally impaired invalid. And what a powerful, beautiful voice!
Philip Quast brought a deceptively steely charm to his characterization of strongman Juan Peron epitomizing why he and Eva would be "surprisingly good" for one another.
Added to all of this were the newly syncopated rhythms offered by
David Cullen's lush orchestrations (particularly in songs like "Buenos Aires") for what is arguably
Andrew Lloyd Webber's best score, along with a breathtaking set design by
Christopher Oram, and the result was one of the most stellar evenings of live theatre I've enjoyed over the past ten years. It left me on a proverbial "Rainbow High."
This is Steve On Broadway (SOB).
In keeping with the new that unfairly discriminate against bloggers, who are now required by law to disclose when they have received anything of value they might write about, please note that I have received nothing of value in exchange for this post. I paid my own way for this performance.Labels: Andrew Lloyd Webber, Elena Roger, Evita, Michael Grandage, Musical, Philip Quast, Revival, Rob Ashford, SOB's Favorite Shows Of The Noughties
SOB's Favorite Shows Of The Noughties: #16 - The Producers (2002, St. James Theatre, New York City, NY)
Introduction: Hard as it is to comprehend that we're already 119 months into this "new" millennium, we are fast approaching the end of its first decade. While we have yet to agree on what exactly we should call the '00s, I'll take a cue from the fine folks at The Times of London and the BBC and henceforth refer to them at the Noughties. With that small introduction, I'm pleased to present my list of plays and musicals that wowed me the most during that time. Out of the hundreds and hundreds of shows I've seen over the last ten years, I give you my countdown of my 25 personal favorite shows of the Noughties. While
Nathan Lane was already calling in sick by the time I saw
Mel Brooks' celebrated musical
The Producers for my first time,
Brad Oscar and
Matthew Broderick had so much chemistry as Max and Leo that I almost forgot that one of the stars I paid to see was out. Almost.
Fortunately, I was able to return. And return again. My third time was the charm in getting to see Lane opposite Broderick. This dynamic duo played so incredibly well off each other that it was no wonder the audience roared with perhaps the highest decibel levels of approving laughter I've ever heard.
Say what you will about the more recent Rialto outings by Brooks, Lane and Broderick, but for a brief shining moment the trio simultaneously held the crown as the three kings of Broadway.
This is Steve On Broadway (SOB).
In keeping with the new that unfairly discriminate against bloggers, who are now required by law to disclose when they have received anything of value they might write about, please note that I have received nothing of value in exchange for this post. I paid my own way for all three performances.
Labels: Brad Oscar, Broadway, Matthew Broderick, Mel Brooks, Musical, Nathan Lane, SOB's Favorite Shows Of The Noughties, The Producers
SOB's Favorite Shows Of The Noughties: #17 - Ruined (2009, New York City Center Stage I, Manhattan Theatre Club, New York, NY)
Introduction: Hard as it is to comprehend that we're already 119 months into this "new" millennium, we are fast approaching the end of its first decade. While we have yet to agree on what exactly we should call the '00s, I'll take a cue from the fine folks at The Times of London and the BBC and henceforth refer to them at the Noughties. With that small introduction, I'm pleased to present my list of plays and musicals that wowed me the most during that time. Out of the hundreds and hundreds of shows I've seen over the last ten years, I give you my countdown of my 25 personal favorite shows of the Noughties. It wasn't until the second act of
Lynn Nottage's devastatingly exceptional
Ruined that we learned the Congolese people's secret for surviving recurring civil wars. According to one central character, they must simply pretend to ignore the inhumanity all around them. But
Ruined was much too excellent to ignore as its Pulitzer Prize underscored.
What Nottage and director
Kate Whoriskey achieved with this heartstopping production was nothing short of monumental. They skillfully succeeded in placing many a human face on those who are grossly dehumanized even if it ranks as one of the most difficult plays I ever sat through.
Nottage created some of the year's most remarkable female roles, including a madame named Mama Nadi (a superb
Portia) whose brothel doors are open to military officials and rebels alike. Nottage endowed each of her central characters with a breathtaking resilience, and a surprising degree of good humor. Ultimately, they demonstrated grace and resolve in their desperate attempts to rise above it all.
This is Steve On Broadway (SOB).
In keeping with the new that unfairly discriminate against bloggers, who are now required by law to disclose when they have received anything of value they might write about, please note that I have received nothing of value in exchange for this post. I paid my own way for this performance.Labels: Kate Whoriskey, Lynn Nottage, Off-Broadway, Play, Portia, Pulitzer Prize, Ruined, SOB's Favorite Shows Of The Noughties
SOB's Favorite Shows Of The Noughties: #18 - Long Day's Journey Into Night (2003, Plymouth Theatre, New York City, NY)
Introduction: Hard as it is to comprehend that we're already 119 months into this "new" millennium, we are fast approaching the end of its first decade. While we have yet to agree on what exactly we should call the '00s, I'll take a cue from the fine folks at The Times of London and the BBC and henceforth refer to them at the Noughties. With that small introduction, I'm pleased to present my list of plays and musicals that wowed me the most during that time. Out of the hundreds and hundreds of shows I've seen over the last ten years, I give you my countdown of my 25 personal favorite shows of the Noughties. One of the most acclaimed productions of its year and quite deservedly so, this
Robert Falls-helmed revival of
Eugene O'Neill’s semi-autobiographical classic
Long Day's Journey Into Night more than captured his family’s deep descent into hell.
Its stellar cast included
Vanessa Redgrave and
Brian Dennehy at their very best. As matriarch Mary Tyrone, Redgrave offered one of the most harrowing downward spirals I've ever witnessed on stage. As patriarch James Tyrone, Dennehy provided a deceptively subtle performance.
Considering that the exceptional
Philip Seymour Hoffman and
Robert Sean Leonard helped round out the cast, this was one must-see theatrical event that exceeded expectations.
This is Steve On Broadway (SOB).
In keeping with the new that unfairly discriminate against bloggers, who are now required by law to disclose when they have received anything of value they might write about, please note that I have received nothing of value in exchange for this post. I paid my own way for this performance.Labels: Brian Dennehy, Broadway, Eugene O'Neill, Long Day's Journey Into Night, Philip Seymour Hoffmann, Revival, Robert Falls, Robert Sean Leonard, SOB's Favorite Shows Of The Noughties, Vanessa Redgrave
