Steve On Broadway (SOB)

Broadway Preview: Shrek The Musical

Broadway Preview: Shrek The Musical

I don't mean to be an ogre, but could it be that I'm the only living person who hasn't seen any of the Shrek movies?

I'm not exactly sure why I never took them in, but the longer I've gone, the less interested I've become. Perhaps I've avoided them because I've been told that they're too smarmy for their own good, and I've never been able to shake that notion.

So it's against that backdrop that I find myself less than excited about the upcoming Shrek The Musical, which already begins its out-of-town tryout next month in Seattle at the city's 5th Avenue Theatre -- the very same venue that proudly launched Hairspray six years ago.

The 5th Avenue Theatre describes their tryout:

This summer, the most beloved swamp-dwelling ogre of all time will make his theatrical debut in the World Premiere of Shrek The Musical, at The 5th Avenue Theatre. This all-new production is based on Shrek’s adventures in the classic William Steig book and Oscar-winning film. Joining Shrek on his journey from the swamp to the stage will be his wisecracking sidekick Donkey, Princess Fiona, Lord Farquaad and a chorus of everybody’s favorite fairytale creatures. With more layers than ever and a completely original new score, Shrek The Musical proves there’s more to the story than meets the ears.

Shrek The Musical is due to land at the Main Stem's Broadway Theatre in time for previews starting November 11, with an opening night slated for December 14.

Now, if there is anything to get excited about, it's that Jeanine Tesori (Caroline, Or Change) is writing the music for its score. The fact that Pulitzer Prize-winning playwright David Lindsay-Abaire (Rabbit Hole) is supplying the lyrics and book should also have me intrigued, but we all know what happend during his previous musical effort. Knowing a thing or two about monsters is Tony nominated director Jason Moore (Avenue Q), who helms the show, yet the choreography comes from Broadway first-timer Josh Prince. You see, everything I see as good is somehow tempered.

OK, another positive is that the criminally underused, Tony-nominated Brian d'Arcy James returns to Broadway in the title role. Tony-winning actress Sutton Foster will portray Princess Fiona; regular readers will recall that it wasn't until my fourth attempt to see her that she was actually performing in a show, but on the plus side, I thought she was incredibly talented when I finally saw her. Other cast members include the Tony-nominated Christopher Sieber as Lord Farquaad, Chester Gregory II as the Donkey, Kecia Lewis-Evans as the Dragon and the Tony-nominated John Tartaglia as Pinocchio.

Nevertheless, with the lackluster critical success of recent film translations to the stage, along with some early negative press already appearing in some important quarters, I'm left still feeling a bit like a bogeyman.

So, I ask you, dear readers. Should I bite the bullet and see the "Shrek" trilogy on film? Will it have me thirsting for the stage incarnation?

This is Steve On Broadway (SOB).

Click here for Shrek Seattle tickets.
Click here for Shrek Broadway tickets.
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Labels: Brian d'Arcy James, Broadway, Chester Gregory II, Christopher Sieber, David Lindsay-Abaire, Film, Jason Moore, Jeanine Tesori, John Tartaglia, Musical, Seattle, Shrek The Musical, Sutton Foster

posted by Steve On Broadway (SOB) @ Sunday, July 13, 2008 16 comments

Broadway Preview: Waiting For Godot

Waiting For Godot

It's been over 51 years since Samuel Beckett's absurdist classic Waiting For Godot was last performed on Broadway. And to date, there have only been 65 actual performances on the Great White Way of one of the stage's more uniquely famous titles.

While the Seattle Repertory Company's upcoming revival of Waiting For Godot isn't even due in the Emerald City until January 2009, that hasn't stopped the producers from waiting to announce that they're officially waiting for a Broadway berth soon after.

Helmed by Tony Award-winning director Garry Hynes (The Beauty Queen of Leenane) and starring Tony Award winning actor Bill Irwin (Who's Afraid of Virginia Woolf?), the Seattle Repertory Theatre describes its new revival:

On its way to Broadway, this production features acclaimed film, television, and stage actor Bill Irwin under the direction of Tony-award-winning director Garry Hynes. Considered by many to be the most significant English language play of the 20th century, this absurdist comedy places two Charlie Chaplin-like tramps in the middle of nowhere to await the mysterious Godot. Don’t miss the chance to see this vaudevillian masterpiece.

First presented on Broadway in 59-performance run (April 19-June 9, 1956) at the John Golden Theatre, Herbert Berghof directed Bert Lahr, E. G. Marshall, Alvin Epstein (who appeared in the recent Brooklyn Academy of Music revival of Beckett's Endgame), Kurt Kasznar and Luchino Solito de Solis.

The very next year, Berghof assumed the helm once again for its one and only revival at the Ethel Barrymore Theatre. Lasting a mere 6 performances, the 1957 run had a twist. It included a cast that was entirely black, including Bert Chamberlain, Geoffrey Holder, Earle Hyman, Rex Ingram and Mantan Moreland.

Now, all these years later, Waiting For Godot is back. Will it actually be worth the wait?

This is Steve On Broadway (SOB).

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Labels: Bill Irwin, Broadway, First Word On New Show, Garry Hynes, Revival, Seattle, Seattle Repertory Theatre, Transfer, Waiting For Godot

posted by Steve On Broadway (SOB) @ Saturday, July 12, 2008 4 comments

A Prayer For Prayer

A Prayer For Prayer

Yesterday, I was very intrigued to learn that Victoria Clark, who won a Tony for her bravura perform-ance as Margaret Johnson in Craig Lucas and Adam Guettel's The Light in the Piazza, has been cast in the upcoming Off-Broadway production of Lucas' play Prayer For My Enemy at Playwrights Horizons.

Just as in Piazza, this incredibly talented actress will once again be working under the direction of Bartlett Sher, who just earned his well-deserved first Tony for his loving direction of the current revival for South Pacific.

Sher, of course, also serves as artistic director for Seattle's Intiman Theatre, and it was there that I first took in the world premiere production of Prayer For My Enemy, which he helmed. Regular readers may recall that at the time, I said:

Unfortunately, the production under Bartlett Sher's direction feels incomplete and as unfocused as each character's out-of-body psycho-babbling thought processing.

That's not to say that parts of the overly ambitious dual story lines aren't intriguing.

In fact, there's a lot of "there" there.

The Playwrights Horizons casting of Jonathan Groff as Billy, a U.S. soldier in Iraq, has also piqued my renewed interest in the work, and it will certainly mark a major departure from his Tony-nominated turn as Melchior in Spring Awakening. In fact, Spring Awakening fans might find more parallels between Billy and Moritz, with a dash of Ernst thrown in for good measure.

While further casting has yet to be announced, I was pleased to see Skipp Sudduth (South Pacific, Writer's Block) cast as Prayer's father Austin. Cassie Beck (The Drunken City) will portray Billy's sister Marianne.

Playwrights Horizons describes the play as follows:

It’s a hell of a night for the Noones -- father Austin’s watching his nature shows and trying to keep from falling off the wagon, mother Karen’s keeping an eye on Austin, son Billy’s just back from Iraq, and pregnant daughter Marianne’s upset about the state of her marriage to Tad, Billy’s childhood friend who may still harbor a crush on him. With the Red Sox battling the Yankees for the 2004 AL title, an American family’s long-held secrets are dragged to the fore in what may be its final reckoning. Prayer For My Enemy is a pæan to our age, a keenly-layered drama about the preciousness of life and the grace to share common ground -- even with those we love the least.

Judging from the description, it appears that the play may have certainly evolved, perhaps even significantly, since first being presented in Seattle (after its world premiere there, it was presented last fall at Connecticut's Long Wharf Theatre). As my last line from my SOB Review last summer would attest, I'm certainly hoping that it has become more focused in time for its New York City premiere:

Prayer For My Enemy certainly aspires to be thoughtful and thought-provoking, yet in its current state, it's strangely deficient. Whether it will be shored up before heading to Long Wharf Theatre next month remains to be seen. Since I greatly admire Craig Lucas, I'll say a little prayer.

I'm still praying.

This is Steve On Broadway (SOB).

Related Stories:
Prayer For My Enemy (The SOB Review) (August 22, 2007)

Labels: Bartlett Sher, Cassie Beck, Craig Lucas, Intiman, Jonathan Groff, Off-Broadway, Play, Playwrights Horizons, Prayer For My Enemy, Seattle, Skipp Sudduth, Spring Awakening, Victoria Clark

posted by Steve On Broadway (SOB) @ Thursday, July 10, 2008 2 comments

No Star Love

No Star Love

So much for Randy Quaid and the planned Broadway production of Lone Star Love. The tuner that's currently playing in Seattle has inexplicably canceled its Great White Way run that was to have started in November and opened in December.

This is Steve On Broadway (SOB).

Click here for Seattle tickets.
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Labels: Broadway, Cancellation, Lone Star Love, Musical, Randy Quaid, Seattle

posted by Steve On Broadway (SOB) @ Monday, September 24, 2007 4 comments

Seattle Times: Young Frankenstein's Shtick Gets Old

Seattle Times: Young Frankenstein's Shtick Gets Old

The first official "mainstream media" review of Mel Brooks' Young Frankenstein is out from Misha Berson of The Seattle Times.

You may recall from my "preview" that I gleefully credited "Brooks and Thomas Meehan for embracing all of the signature lines and hysterical bits from the film and running with them."

Apparently, Berson is having none of that.

In fact, the review explicitly states, "[I]t has not yet escaped the looming shadow of its celluloid model and come into its own. Staged by (Susan) Stroman with impressive fluidity given its heft, Young Frankenstein has a cast of expert merry-makers, shtick galore, winning dance numbers, elaborate sets by Robin Wagner that are marvels of seamless stage technology, and all the explosions, fog, and wowie lighting effects (by Peter Kaczorowski) a rumored $20 million budget can buy. But the humor is choppy, and the one-liners repeated from the film script (by Brooks and Gene Wilder) can fall flat. The musical is freshest and funniest in the second act, when it stops doggedly aping the film, and lets the actors concoct their own comic chemistry."

Of the cast, Christopher Fitzgerald (Igor) is deemed "terrific," exuding "much goofy verve of his own" and the "incomparable" Andrea Martin gets well-earned praise ("her brooding Frau Blucher is a wacko joy").

However, the leads aren't registering with Berson.

Roger Bart is "the actor most burdened" who "overworks the exasperated shrieking he borrows from Wilder's Frederick. One hopes Bart finds his own groove soon." Megan Mullally "is amusing, but not virginal -- which undercuts the joke of Elizabeth's sexual awakening." Sutton Foster is "a fine singer, a champion yodeler, and a dexterous dancer. But she barely registers a personality."

In summary, I'll leave the final word to Berson, who concludes: "And though it may well draw crowds in any case, a less clonelike Young Frankenstein would be a better justification for all the expense and talent lavished on this celluloid spin-off when it lurches onto Broadway."

This is Steve On Broadway (SOB).

Click here for Young Frankenstein tickets (Seattle).
Click here for Young Frankenstein tickets (Broadway).
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Young Frankenstein (The SOB Preview) (August 13, 2007)
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Thanks, Mel! (July 6, 2007)
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That's Franken$$$$$TEIN! (June 29, 2007)
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Pirate Queen Set To Abdicate Hilton Throne (June 6, 2007)
Billion Dollar Broadway Baby? Almost. (May 30, 2007)
Mel Brooks: "It Looks Like The Hilton Theatre" (May 25, 2007)
End Of Plank For Pirate Queen? (May 18, 2007)
It's Official: Mullally Cast In Young Frankenstein (March 9, 2007)
The Hits From Coast To Coast (March 8, 2007)
Whither Goeth Chenoweth? (February 27, 2007)
Producers Out, Young Frankenstein In (February 22, 2007)
That's FrankenSTEEN: Just In Time For Halloween (January 24, 2007)
M-G-M: Movies-Going-Musical (January 3, 2007)
Young Frankenstein Workshop To Feature Monster Casting (October 11, 2006)

Labels: Broadway, Critics' Capsule, Film, Mel Brooks, Musical, Seattle, Tryout, Young Frankenstein

posted by Steve On Broadway (SOB) @ Friday, August 24, 2007 2 comments

Prayer For My Enemy (The SOB Review)

Prayer For My Enemy (The SOB Review) - Intiman Theatre, Seattle WA

** (out of ****)

It's no secret that the biggest world premiere to hit Seattle theatre in years is Young Frankenstein. However, barely a mile away, another world premiere production is currently playing, this time from critically-acclaimed playwright Craig Lucas.

I've been quite clear in this space how riveting I've found Lucas' previous works. His haunting Small Tragedy ranks as one of my favorite plays. Talk about a drama that shook me to my core.

So it was with great anticipation, perhaps too much, that I visited the Intiman -- Seattle's leading, Tony Award-winning regional theatre -- to discover Lucas' latest work, Prayer For My Enemy. Unfortunately, the production under Bartlett Sher's direction feels incomplete and as unfocused as each character's out-of-body psycho-babbling thought processing.

That's not to say that parts of the overly ambitious dual story lines aren't intriguing.

First, there's the tale of a young gay man named Billy, who's in denial about his sexuality. Billy is portrayed by an all-too strapping Daniel Zaitchik, who comes across more as the quintessential boy next door. Seems he's so tired of the taunts from his own alcoholic father Austin (a prickly John Procaccino) that he enlists in the military just to prove he's a real man.

Immediately before heading to Iraq, Billy has a chance encounter with his first love Tad (James McMenamin), who's since gone into a slightly delusional tailspin after divorcing his wife. Billy invites Tad to his bon voyage send-off where the latter becomes reacquainted with Billy's sister Marianne (Chelsey Rives).

While in Iraq, Billy suffers a serious head injury, but it doesn't cut nearly as deep as the discovery that Tad and Marianne are now having a baby, forcing the young soldier to rethink whether he can really be true to himself and Tad. Meanwhile, Tad's trying to fit into his new surroundings by ingratiating himself with Austin and his wife Karen (Cynthia Lauren Tewes -- yes, that Lauren Tewes).

Concurrently, there's the story of the frazzled middle-aged woman Delores (Kimberly King) who's practically come undone in determining how to care for her ailing mother. Delores regales with her own frustrated tales of living in the Big Apple. She's just plain miserable and alone. Even the staging of Delores' soliloquies underscore how bleak her life has become.

In anticipating a major payoff when the two very separate threads finally come together, they're not so much woven together as they are mismatched. The chance manner in which they're tied together is less than satisfying, unless the point is to show how unperfectly random life is.

In my humble estimation, that's quite atypical of Lucas' other work. What's riveted me most in his unique storytelling is how well he usually enables his strange twists to make sense. Here, it just seems like pure happenstance.

That's not to say that there aren't some sobering moments. It's particularly poignant that the most despicable character in the entire play -- Billy's father -- also turns out to be the surprising source for the show's title, a man who isn't afraid to get down on his knees to pray for America's enemies.

Of all the spare design elements, the one that struck me most was the arresting sound design provided by Stephen LeGrand, including the subtle beeping of the ATM machines where Billy and Tad first reunite.

Prayer For My Enemy certainly aspires to be thoughtful and thought-provoking, yet in its current state, it's strangely deficient. Whether it will be shored up before heading to Long Wharf Theatre next month remains to be seen.

Since I greatly admire Craig Lucas, I'll say a little prayer.

This is Steve On Broadway (SOB).

Click here for tickets.

Labels: Bartlett Sher, Craig Lucas, Intiman, Prayer For My Enemy, Seattle, Small Tragedy, The SOB Review

posted by Steve On Broadway (SOB) @ Wednesday, August 22, 2007 1 comments

Riedel's Deep Abby Normal?

Riedel's Deep Abby Normal?

New York Post theatre gossip wag Michael Riedel's been having lots of fun with Young Frankenstein and its Seattle tryout by quoting a "Deep Abby Normal."

Although he says today that he hinted last week who his mole is, in re-reading that column, I couldn't detect a trace of whom that might be. But his column today would suggest it's none other than Christopher Fitzgerald, or at least that's what I surmise by "I already hinted at this, but I'll refresh her (Susan Stroman) memory: He lives in Transylvania, and he has a hump."

By the way, Playbill has some halfway decent initial pics of the show, including one of Fitzgerald more than capably filling Marty Feldman's shoes as Igor. In case you missed my comments the other day, I said, "If there is just one Tony nominated performance from Young Frankenstein -- and I personally believe there could very well be at least four or five -- it will be Christopher Fitzgerald. He (is) exceptional."

This is Steve On Broadway (SOB).

Click here for Young Frankenstein tickets (Seattle).
Click here for Young Frankenstein tickets (Broadway).
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End Of Plank For Pirate Queen? (May 18, 2007)
It's Official: Mullally Cast In Young Frankenstein (March 9, 2007)
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Producers Out, Young Frankenstein In (February 22, 2007)
That's FrankenSTEEN: Just In Time For Halloween (January 24, 2007)
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Young Frankenstein Workshop To Feature Monster Casting (October 11, 2006)

Labels: Broadway, Christopher Fitzgerald, Film, Michael Riedel, Musical, Seattle, Susan Stroman, Tryout, Young Frankenstein

posted by Steve On Broadway (SOB) @ Friday, August 17, 2007 6 comments

Young Frankenstein (The SOB Preview)

Young Frankenstein (The SOB Preview) - The Paramount, Seattle, WA

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

Is Young Frankenstein any good? That would be "The $450 Question."

Or perhaps more incisively, is it worth $450 per ticket? That, my friends depends entirely upon your point of view.

Personally, I could never bring myself to spend that kind of money on a theatre ticket as I think I've already made abundantly clear. But if all things are truly relative, I can tell you that I enjoyed this nearly Broadway-ready Young Frankenstein much, much more than Jersey Boys, where the top seats fetch a farfetched $351.50.

Over this past weekend, I flew to Seattle to take in the out-of-town tryout of Mel Brooks' Young Frankenstein, and I can tell you it has monster hit written all over it. Yes, plenty of tinkering remains to be completed (can somebody please give a hand to sound designer Jonathan Deans -- the entire first couple tunes were so muffled that I could barely understand what was being sung), and yes, it currently runs about a half hour too long (vooof!), but overall, Brooks' latest film-cum-stage musical is funny, funny, funny.

And in answer to the original question, yes, it's pretty darned good, too.

Given that I saw the show only days into its first previews, what's remarkable is the nearly excellent shape in which Young Frankenstein already is for a show that will be further fine-tuned in the weeks ahead.

Credit Brooks and Thomas Meehan for embracing all of the signature lines and hysterical bits from the film and running with them. They're not only all here, but the rapt audience clearly anticipates each one, cheering enthusiastically as each is delivered with relish (now I finally know how all those Monty Python fans felt during Spamalot).

Yet, Brooks and Meehan expand on the story by offering up a more fully-realized Elizabeth thanks to a wickedly funny Megan Mullally, and Igor via an absolutely hilarious Christopher Fitzgerald -- Wicked's original Boq -- in an uproarious breakthrough performance that makes you all but forget Marty Feldman.

Fortunately, they're not alone. For my first-time ever, I finally saw Sutton Foster perform and got to see what the fuss is about; not only can she sing and dance with the best of them, she's a voluptuous laugh riot to boot as Inga. Her "Roll In The Hay" had me rolling in the aisle. As much as I hoped to see Cloris Leachman recreate the role of Frau Blucher, there's no better substitute than the pricelessly droll Andrea Martin, who delights with nodding approval from neighing horses; her "He Vas My Boyfriend" underscores her comedic versatility. And while a monster of few words, Shuler Hensley makes for about the most lovable bogeyman ever -- just ask Mullally, who sings down the house with her risible "Deep Love."

The toughest role certainly falls on former second-stringer and Tony-winner Roger Bart, who finally graduates to a leading role with plenty of comic pizzazz. While it takes a while for his Dr. Frederick Frankenstein to rise to the heights of Gene Wilder from the silver screen version, his winning madness and heart ultimately win the audience over.

Despite sprinklings of vampires and werewolves, surprisingly few of the tunes by Mel Brooks capture the lunacy of The Producers, but as noted above, this is still a work in progress. Although I still recall the strains of the aforementioned "Deep Love," along with "Together Again For The First Time" when Frederick and Igor forge their bond, if I were to guess which tunes would go away to speed along the narrative, I'd suggest the throwaway "Welcome To Transylvania" or the needless "Please Send Me Someone" by the one-scene Hermit.

Perhaps it's for these reasons that the real showstopping tune turns out not to be a newly written Brooks piece, but instead, Irving Berlin's borrowed "Puttin' On The Ritz." Like a Busby Berkeley extravaganza, this signature tune catapults Young Frankenstein to the highest heights of hilarity.

Thanks to the unique vision of director/choreographer Susan Stroman, these Transylvanian hills come alive, not only with the sound of music, but also with enchanting stagecraft. Robin Wagner has outdone himself with Frankenstein's laboratory alone, but when you add everything from a ocean-going ship to Frankenstein Castle's grand hall, add a dose of Marc Brickman's enchanting projection designs and throw in Peter Kaczorowski's brilliant lighting design, suddenly there's more magic than you can shake a beaker at. Then, of course, there's William Ivey Long's wide-ranging costume design that bridges New York chic with Transylvania geek.

I fully trust that the final product that bows on Broadway will be precision perfect, but this is as abby-normally terrific as you can get this early.

This is Steve On Broadway (SOB).

Click here for Young Frankenstein tickets (Seattle).
Click here for Young Frankenstein tickets (Broadway).
Related Stories:
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Is Mel Worth It? (August 4, 2007)
Thanks, Mel! (July 6, 2007)
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That's Franken$$$$$TEIN! (June 29, 2007)
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The Hits From Coast To Coast (March 8, 2007)
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Producers Out, Young Frankenstein In (February 22, 2007)
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M-G-M: Movies-Going-Musical (January 3, 2007)
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Labels: Andrea Martin, Broadway, Film, Megan Mullally, Mel Brooks, Musical, Roger Bart, Seattle, Shuler Hensley, Sutton Foster, The SOB Preview, The SOB Review, Young Frankenstein

posted by Steve On Broadway (SOB) @ Monday, August 13, 2007 14 comments

Will These Eyes Meet? Hoping For Better Than 75%

Will These Eyes Meet? Hoping For Better Than 75%

Apparently, according to both Playbill and Michael Riedel, Mel Brooks and Thomas Meehan are sitting through every one of the Seattle tryout performances of Young Frankenstein to finish prepping it for Broadway.

Also, according to Riedel, Brooks thinks the show is "75% there."

Additionally, according to me, I'll be 100% in the audience this weekend.

Wonder whether these eyes will come this close.

This is Steve On Broadway (SOB).

Click here for Young Frankenstein tickets (Seattle).
Click here for Young Frankenstein tickets (Broadway).
Related Stories:
Is Mel Worth It? (August 4, 2007)
Thanks, Mel! (July 6, 2007)
What Motivates You To See A Broadway Show? (July 5, 2007)
That's Franken$$$$$TEIN! (June 29, 2007)
Cloris To Mel: Put Up Your Dukes! (June 13, 2007)
Pirate Queen Set To Abdicate Hilton Throne (June 6, 2007)
Billion Dollar Broadway Baby? Almost. (May 30, 2007)
Mel Brooks: "It Looks Like The Hilton Theatre" (May 25, 2007)
End Of Plank For Pirate Queen? (May 18, 2007)
It's Official: Mullally Cast In Young Frankenstein (March 9, 2007)
The Hits From Coast To Coast (March 8, 2007)
Whither Goeth Chenoweth? (February 27, 2007)
Producers Out, Young Frankenstein In (February 22, 2007)
M-G-M: Movies-Going-Musical (January 3, 2007)
Young Frankenstein Workshop To Feature Monster Casting (October 11, 2006)

Labels: Broadway, Film, Mel Brooks, Michael Riedel, Musical, Seattle, Thomas Meehan, Tryout, Young Frankenstein

posted by Steve On Broadway (SOB) @ Friday, August 10, 2007 2 comments

Is Mel Worth It?

Is Mel Worth It?

Regular readers already know how I feel about the outrageously priced top tickets for the upcoming Broadway adaptation of Mel Brooks' Young Frankenstein.

But given Michael Riedel's latest New York Post column, it's no wonder why they're so high when the great comedy maestro is set to earn big bucks with or without the yucks.

Is Brooks' genius worth it? I'll be curious to know what you think.

I'll give you my humble opinion soon enough as I get set to journey to Seattle for the out-of-town tryout shortly.

This is Steve On Broadway (SOB).

Click here for Young Frankenstein tickets (Seattle).
Click here for Young Frankenstein tickets (Broadway).
Related Stories:
Thanks, Mel! (July 6, 2007)
What Motivates You To See A Broadway Show? (July 5, 2007)
That's Franken$$$$$TEIN! (June 29, 2007)
Cloris To Mel: Put Up Your Dukes! (June 13, 2007)
Pirate Queen Set To Abdicate Hilton Throne (June 6, 2007)
Billion Dollar Broadway Baby? Almost. (May 30, 2007)
Mel Brooks: "It Looks Like The Hilton Theatre" (May 25, 2007)
End Of Plank For Pirate Queen? (May 18, 2007)
It's Official: Mullally Cast In Young Frankenstein (March 9, 2007)
The Hits From Coast To Coast (March 8, 2007)
Whither Goeth Chenoweth? (February 27, 2007)
Producers Out, Young Frankenstein In (February 22, 2007)
M-G-M: Movies-Going-Musical (January 3, 2007)
Young Frankenstein Workshop To Feature Monster Casting (October 11, 2006)

Labels: Broadway, Film, Mel Brooks, Michael Riedel, Musical, Seattle, Young Frankenstein

posted by Steve On Broadway (SOB) @ Saturday, August 04, 2007 1 comments

Lone Star Joins Crowded Field Of Musicals

Lone Star Joins Crowded Field Of Musicals

Former Off-Broadway musical hit Lone Star Love will ride again, this time on Broadway, after sauntering off to Seattle for a retooled tryout in September. Lone Star Love features a score by Jack Herrick and book by John L. Haber and Robert Horn.

Helmed and choreographed by Randy Skinner, the tuner -- described as The Merry Wives Of Windsor meets post-Civil War Texas -- will open at the Belasco Theatre on December 3.

Look for Academy Award-nominated actor Randy Quaid to make his Broadway debut alongside such sidekicks as Great White Way veterans Dee Hoty and Robert Cuccioli.

Sounds like a rootin' tootin' hoot to me!

This is Steve On Broadway (SOB).

Labels: Broadway, Dee Hoty, First Word On New Show, Lone Star Love, Musical, Off-Broadway, Randy Quaid, Robert Cuccioli, Seattle, The Merry Wives Of Windsor, Tryout

posted by Steve On Broadway (SOB) @ Friday, July 20, 2007 0 comments

Hairspray To Brush With West End Style

Labels: Broadway, Film, First Word On New Show, Hairspray, John Travolta, London, Musical, Queen Latifah, Seattle, Transfer

posted by Steve On Broadway (SOB) @ Friday, March 09, 2007 2 comments

It's Official: Mullally Cast In Young Frankenstein

Labels: Andrea Martin, Broadway, Cloris Leachman, Kristin Chenoweth, Megan Mullally, Musical, Roger Bart, Rumor, Seattle, Shuler Hensley, Sutton Foster, Tryout, Young Frankenstein

posted by Steve On Broadway (SOB) @ Friday, March 09, 2007 4 comments