Friday, June 25, 2010

Wicked World

Wicked World

If you're among my regular Steve On Broadway (SOB) readers, surely by now you know that the Broadway musical Wicked rates as the tuner the Love Of My Life (LOML) and I have adopted as "Our Show."

While some couples have their song, we have our musical. And we make no apologies for it whatsoever.

If you've ever wondered what a major international blockbuster this show has become, consider this -- worldwide, Wicked has grossed over $1.9 billion and it has entertained more than 24 million people, who have seen it in the United States, Canada, the United Kingdom, Japan, Germany and Australia. Soon, it will also be seen in Finland and Denmark.

While the musical has that tagline, "So much happened before Dorothy dropped in," so much has happened with Wicked since I last wrote about the show late last year. Here's a rundown on Wicked's global reach, where it is currently playing and where it will be performing:


Wicked - Broadway
Gershwin Theatre - New York, New York

After opening October 30, 2003, to mixed reviews, the original production of Wicked is still going strong.

Not only does it regularly rank as the top grossing Broadway show week after week, but after more than six and a half years, it's also one of those rare shows that still sells every single seat.

Tonight, it will have played its 2755th performance, and it ranks as the 18th longest running show in Broadway history. By year's end, it will eclipse Hello, Dolly! currently in 17th place.

From my own tally, my LOML and I have seen the show on Broadway at least six times, most recently about a year ago when I found the musical still in tiptop shape.


Wicked - San Francisco
Orpheum Theatre - San Francisco, California

Once the Los Angeles sitdown production closed January 11, 2009, after 791 performances, the company moved up the coast to San Francisco, which was home to the initial Broadway tryout that opened June 10, 2003.

The San Francisco sitdown production opened February 6, 2009, and is currently slated to close on September 5, 2010, after playing a total of 672 regular performances.

While my LOML and I never saw the show in LA, we enjoyed a performance at San Francisco's Orpheum last September when Patty Duke was portraying Madame Morrible.


Wicked - National Tours
Currently playing Dallas, Texas (Music Hall at Fair Park) and St. Louis, Missouri (Fabulous Fox Theatre)

The two national touring companies of Wicked are still going strong, typically pulling into a major city (and many second-tier cities) for an entire month.

Currently, the tour schedule for two companies run through next summer in Omaha and Washington, DC.

To date, I've seen the touring companies perform four times: once in Chicago (not counting all the times I subsequently saw its sitdown production there), twice in Minneapolis and one more time in Des Moines.

While the touring company doesn't come with all the bells and whistles of the Broadway or other sitdown productions, the stagecraft ranks among the best I've ever seen in any touring show, and the casts are every bit as good as you'll find anywhere.


Wicked - London
Apollo Victoria Theatre, London, United Kingdom

As the first international production Wicked to open, this production was voted "Most Popular Show" by audiences earlier this year in a special Olivier Award category.

The West End incarnation of Wicked opened September 27, 2006, and enjoyed its 1500th performance on April 23, 2010. The show is currently booking through April 30, 2011.

My LOML and I caught a performance in April 2007. Of all our Wicked experiences, this ranked as the weakest of the bunch. But I readily admit it could have just been an off-performance.


Wicked - Osaka
Osaka Shiki Theater - Osaka, Japan

The first foreign-language version of Wicked opened June 17, 2007, at Tokyo's Shiki Theatre. The Japanese-language production closed September 6, 2009, before transferring to Osaka, where it opened October 11, 2009. The show is still playing.

At the close of 2007, my LOML and I journeyed to see the Tokyo production. If you've never seen an American musical in a different language, it's quite a unique experience. Fortunately, since we already knew the show backwards and forwards, we had little difficulty following it. Since that time, we've purchased the Japanese language cast recording, and it's a real hoot to listen to.


Wicked - Die Hexen Von Oz - Oberhausen
Metronom Theater - Oberhausen, Germany

On November 15, 2007, the second non-English language production of Wicked opened.

This time, Wicked - Die Hexen von Oz (or "The Witches of Oz) was produced entirely in German at Stuttgart's Palladium Theater. After closing January 29, 2010, it transferred to Oberhausen's Metronom Theater, where it opened March 9 and is still performing.

For the first time in our Wicked experience, my LOML and I enjoyed front-row seats when taking in the Stuttgart production over Thanksgiving 2007. We thought this incarnation had some of the best talent we had ever seen in the show, and when the cast recording was issued that December, we couldn't resist in purchasing it immediately.


Wicked - Sydney
Capitol Theatre - Sydney, Australia

Given Australians' penchant for calling their nation "Oz," it was inevitable that Wicked would find its way there.

On July 12, 2008, Wicked opened at Melbourne's Regent Theatre. As the musical's fourth international production, it played there through August 9, 2009, having enjoyed 464 performances.

On September 12, 2009, Wicked opened in Sydney, where it continues to play at the Capitol Theatre and breaking records as the venue's highest grossing musical. While the show is currently slated to close exactly one year after it opened (September 12, 2010), it will continue to live on Down Under. My LOML and I will see the production on the evening of August 18.

In January 2011, Wicked will transfer to Brisbane's Lyric Theatre, followed by an April 2011 opening at Adelaide's Festival Theatre.

My LOML and I were fortunate to see the production shortly after it first opened in Melbourne.


Wicked - Helsinki
Helsingin Kaupungin Teatteri - Helsinki, Finland

On August 26, 2010, the first non-replicated production of Wicked premieres in Helsinki of all places.

Non-replicated essentially means it will be staged differently than the Broadway original with its own production and creative team. And it will be mounted in Finnish.

Currently, this production of Wicked is selling tickets through December 31, 2010.


Wicked - Heksene Fra Oz - Copenhagen
Det Ny Teater - Copenhagen, Denmark

Beginning in January 2011, the second non-replicated production of Wicked takes root, this time in Denmark. Currently, Wicked - Heksene Fra Oz is scheduled through May 2011. This production will be in Danish.


To date, my LOML and I have made over 20 visits to Wicked beginning with our first time at the Gershwin on November 1, 2003. Since then, we've seen the show in nine different venues in five different countries.

Where in the world will our fascination with Wicked take us next? Only the time dragon clock knows for sure.

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.

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Tuesday, December 15, 2009

SOB's Theatrical Firsts Of The Noughties: For The First Time In My Life I'm Feeling A Little Wicked

SOB's Theatrical Firsts Of The Noughties: For The First Time In My Life I'm Feeling A Little Wicked

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

As I mentioned in my earlier post about my love affair with Steppenwolf, the other Love Of My Life (LOML) and I have been together for two-thirds of this decade.

It was less than four months into our relationship that we made our first trip together to the Great White Way. A couple months before we had even met, I had secured tickets to Wicked, which was still a half year away from its Broadway opening.

Two days after the musical opened, LOML and I went to see Wicked. I was mindful that critics had been less than charitable toward it in their reviews. But perhaps our excitement over the show began when we arrived and were awed by our fifth row center seats. Our deep appreciation for “The Wizard of Oz” only heightened our appreciation for and enjoyment of Wicked, which is actually much more clever than some critics cared to admit. As we left the theatre, our feet were practically floating off the floor. We loved Wicked and couldn’t wait to see it again.

In the more than six years that have passed, we have indulged ourselves by returning to Wicked more times than we can remember. We returned to Broadway’s Gershwin Theatre at least a half dozen more times. While we lived in Chicago, we saw the first tour blow through as well as the first sit-down production outside of New York; we’ve seen the show there at least seven times. Additionally, we took in two tour stops: Minneapolis (twice) and Des Moines. We missed the Los Angeles sit-down production, yet managed to see it this year after it transferred to San Francisco.

We’ve also managed to experience this phenomenon overseas, first in London, then in Stuttgart (Germany) and then in Tokyo, all in 2007. Last year, we traveled our farthest distance, all the way to Melbourne, Australia, to see Wicked on our fourth continent together. We can’t wait to see where the show will land next so we can add more stamps to our passports .

When my LOML and I last returned the Gershwin earlier this year, our visit was truly extraordinary. We now knew someone in the show who not only arranged house seats for us (which we paid for, FTC!), but also guided us on a backstage tour once the performance had concluded.

We were met by the actor’s dresser, who took us behind the curtain to our friend’s dressing room. From there, our friend took us on the stage of the Gershwin Theatre, which by then was dimly lit by the musical’s ghost light. But what an amazing vantage point to look out at that huge house and realize how much bigger the set looked from there than it did up close. It was a perfect capper to six years of seeing this show from coast-to-coast and around the world, creating memories that will last the rest of our lives.

Some couples have “their song.” For my LOML and I, we have our musical, and it’s name is Wicked -- a show that never ceases to entertain or hold us in its spell and continues to provide that joy, that thrill, always thrilling us like we think it will.

This is Steve On Broadway (SOB).




In keeping with the new Federal Trade Commission (FTC) regulations that unfairly discriminate against bloggers, who are now required by law to disclose when they have received anything of value they might write about, please note that I have received nothing of value in exchange for this post. I paid my own way for every single performance of Wicked.

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Wednesday, January 14, 2009

August To Launch Summer Tour In Denver

August To Launch Summer Tour In Denver

Somehow, this little piece of news from Sunday escaped me.

Guess I was still a little verklempt from Patti LuPone's showstopping performance of "Rose's Turn" to take notice (New York Post's Michael Riedel writes about extreme phototaking today).

But if you're looking forward to seeing a leg of the upcoming national tour of the 2008 Tony Award-winning Best Play August: Osage County, it's worth noting that the Playbill story is already obsolete in announcing that the tour will launch in San Francisco this August.

It won't.

According to the A:OC Web site, the August 11 - September 6 San Francisco dates at the Curran Theatre will actually be preceded by the official tour launch in Denver at the lovely Ellie Caulkins Opera House on July 24. Tracy Letts' Pulitzer Prize-winning play is scheduled to run there through August 8.

Casting for the tour has yet to be announced.

Meanwhile, if you're one of my readers from Down Under, it's worth noting that the Melbourne Theatre Company will be staging its own version of August: Osage County beginning May 23, 2009 through June 27. As far as I know, this will mark the first time the show is not being produced in association with the original Steppenwolf mounting.

Former Sydney Theatre Company Artistic Director Robyn Nevin will star as Violet Weston. American audiences may recall that she directed Cate Blanchett in the excellent 2005 Brooklyn Academy of Music mounting of Hedda Gabler.

Nevin will be joined by Jane Menelaus, Robert Menzies, Deidre Rubenstein and Michael Robinson, among others. This production will be directed by Kellie Jones with Simon Phillips serving as creative director. Take a look at the theatre company's promotional design for the show above -- they've certainly captured the essence of the play in the above artwork.

Finally, no Chris, I have no plans to fly to Australia.

Yet.

This is Steve On Broadway (SOB).

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Friday, March 02, 2007

Toxic: Jersey Boys Will Be Boys

Toxic: Jersey Boys Will Be Boys

In an incendiary letter to the San Francisco Chronicle, Marshall Brickman defends his honor with a brilliant tongue-lashing of Jersey Boys' director/producer Des McAnuff. Brickman, of course, is one half of the duo responsible for writing the celebrated tuner's Tony-nominated book; Rick Elice is the other half.

At issue is a February 14 Chronicle story meant to celebrate the first, lengthy leg of Jersey Boys' national tour. McAnuff, clearly a legend in his own mind, is thus featured and quoted:

Director Des McAnuff explains why there are only three actresses playing so many roles. When writers Marshall Brickman and Rick Elice approached McAnuff with the idea for Jersey Boys, there was no script, just the idea.


"I didn't like it very much," McAnuff recalls by phone from San Diego, where he's in rehearsals for Aaron Sorkin's new play, The Farnsworth Invention, at the La Jolla Playhouse. "Marshall and Rick were very gracious about the rejection. And even after I turned them down twice, they were very persistent. So we came up with the outline together. I helped them with the structure.


"And at one point, they came up with a chorus of 16 Jersey girls. Frankly, I didn't think it worked. It was ridiculously extravagant considering the blue-collar nature of the group. So, simply put, the reason we have three girls is because I said we could have three girls -- and that's it."


Not so, says Brickman, who has been honored with Oscar nominations, even winning one for his screenplay of "Annie Hall." Apparently not one to sit idly by while being trashed by the director, Brickman fired back, in part:

We can finally put to rest any lingering doubts about who is responsible for the success of our little offering, Jersey Boys, currently at the Curran Theatre. It is, of course, the director. Le spectacle, c'est lui. I see him now, goose quill in hand, fingers raw, eyes bloodshot from his tireless restructuring of our 72-page "idea."

Would that I had known him years ago so he could have restructured the screenplays for "Sleeper" and "Annie Hall" and "Manhattan" and "Simon" and "Lovesick" and "The Manhattan Project" -- they might have won awards and gained some critical acclaim. Or instructed William Shawn in the proper restructuring of my New Yorker pieces.

But I was naive then and didn't know enough to be persistent. Twice we offered him the crown and twice he refused it, it says. Sheer modesty. We offered it to him 139 times. Only after we doused ourselves with gasoline and lit a match did he agree to interrupt his restructuring of the book for Dracula, The Musical to heed our pleas and, as a bonus, instruct us in the niceties of the musical theater: how to arrive fashionably late, how to humiliate the cast, how to create an atmosphere of collegiality rivaled only by a board meeting at Hewlett-Packard, how to give interviews that, for sheer fantastic invention, rival anything out of Lewis Carroll.

But why be churlish? I owe the man. He wrote our show, ate my dinner, married my wife and fathered my children. For all I know, he may have even written this letter.

Marshall Brickman
Co-author of
Jersey Boys
New York City

No word yet on whether McAnuff intends to claim songwriting credits for any of the Four Seasons' tunes used in the show.

This is Steve On Broadway (SOB).

Click here for tickets.

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