SOB's Theatrical Firsts Of The Noughties: My First Time On A Broadway Stage
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.Although I have never had any designs on being an actor, I always wondered what the theatre looked like from on stage. If you read
this previous post, you'll know that my first time on the
Gershwin stage was compliments of one of
Wicked’s cast members.
But my first time
ever to set foot on a Broadway stage came about in 2006. Two of my best friends in the entire world happen to be friends with lyricist
Chad Beguelin, whom I met when he was putting the finishing touches on the book and score for his first Rialto effort,
The Wedding Singer.
After the musical debuted on Broadway, we went to see the show at the
Al Hirschfeld Theatre. Chad offered to meet us immediately after the performance. Although the show received mixed reviews,
we all had a great time, which was a bit of a relief as I’m not particularly good at lying about whether I’ve enjoyed a show. Fortunately, I didn’t need to.
So when we met up with Chad, we gave him our thumbs-up. In turn, he gave us a backstage tour, introducing us to the show’s star:
Stephen Lynch, as well as taking us onto the stage itself.
I couldn’t get over how much smaller everything seemed up close and personal. I found myself thinking, “Ah, the magic of theatre.” Perhaps even more thrilling than being backstage was being greeted by the throngs of fans lined up at the stage door. They certainly had no clue who I was, but it was fun seeing them try to guess.
Since then, I’ve been invited backstage at three other Broadway venues.
As
noted earlier, I have been on
Wicked’s stage at the Gershwin.
Additionally, just one year ago as
Harvey Fierstein was reprising his turn as Edna Turnblad in
Hairspray at the
Neil Simon, he personally provided me a rare opportunity to join him backstage. When he escorted us through the stage door into the theatre, little did I know I would be stepping directly onto the Neil Simon stage.
Then, this past summer, one of
Billy Elliot’s Tony winning actors graciously invited us to join him for a wonderful backstage tour in which he divulged many of the shows design secrets. That tour was capped off with an introduction to the musical’s Tony-winning director,
Stephen Daldry.
How many other Broadway stages will I someday find myself on? To be honest, what’s more important to me is cherishing each of my once-in-a-lifetime experiences I've already enjoyed in “treading the boards” of Broadway. Speaking of which, I made an unanticipated return to that Al Hirschfeld stage earlier this year, but that return deserves a post all its own.
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 performances above.Labels: Al Hirschfeld Theatre, Billy Elliot The Musical, Broadway, Chad Beguelin, Gershwin Theatre, Hairspray, Harvey Fierstein, Imperial Theatre, Neil Simon Theatre, Stephen Daldry, The Wedding Singer, Wicked
Billy Elliot - The Musical (The SOB Revisit) - Imperial Theatre, New York, New York
***1/2 (out of ****)Third time was most definitely the charm for me in seeing
Billy Elliot - The Musical, this time (finally) on Broadway.
For the third time in four years and across three continents, I've seen how the miles on a show can either
infuse electricity or
take it away. In the case of
Stephen Daldry's soaring Broadway mounting, he's achieved a breathtaking kinetic wattage to behold.
Triple threat
Kiril Kulish, who portrayed Billy during my performance, offers the most electrifying take on the eponymous role I've now seen. He's not only born to boogie, but he also possesses a star quality I've rarely seen in someone so young. His talent is pure joy to witness
During my performance, I was disappointed to learn that the key role of Michael would be played by understudy
Keean Johnson. But once he expressed himself with his natural-born stage presence, I was left wondering why he doesn't perform the role on a regular basis. He is exceptional and has a great future ahead of him.
As pivotal as Billy and Michael are, the supporting cast is every bit as vital in ensuring the requisite electricity. In the role of his lifetime, the incredibly talented
Gregory Jbara is spot-on as Billy's father, whose eleventh hour epiphany is powerfully moving without being overly sentimental. The wonderful
Haydn Gwynne reprises the role I saw her brilliantly create in London. And the lovely
Carole Shelley offers one of the year's top scene-stealing performances as Billy's Grandma.
Thanks to Daldry's invigoratingly taut direction and
Peter Darling's inventive choreography, the cast abounds in endless energy. They infuse
Lee Hall and
Elton John's score -- which strikes a deeper and infinitely more poignant chord with each listen -- with all possibility that individuality really represents, particularly during these financially troubled times.
If you're going to see
Billy Elliot anywhere, make this the one.
This is Steve On Broadway (SOB).
Labels: Billy Elliot The Musical, Broadway, Carole Shelley, Elton John, Gregory Jbara, Haydn Gwynne, Keean Johnson, Kiril Kulish, Lee Hall, Musical, Peter Darling, Stephen Daldry, The SOB Review
Billy Elliot Dances Way Into Critics' HeartsLast evening,
Billy Elliot The Musical opened at Broadway's
Imperial Theatre.
Directed by the same man who directed the
2000 film,
Stephen Daldry, and with a book and lyrics written by the same man who wrote the original screenplay,
Lee Hall, this tuner's music is by
Sir Elton John.
David Alvarez,
Trent Kowalik and
Kiril Kulish are alternating as Billy, while
David Bologna and
Frank Dolce alternate as Michael. The musical also stars
Haydn Gwynne,
Gregory Jbara,
Carole Shelley and
Santino Fontana.
Most critics have showered the show with praise. It's been ages since I've seen this type of swooning over a new tuner.
Declaring that "Broadway's long, dark, dry spell of big, smart, smash musicals is officially over," now that the "seriously thrilling" and "deeply lovable"
Billy Elliot has opened,
Newsday's
Linda Winer heaps on the huzzahs all around: "The show is crawling -- not to mention tapping and leaping -- with dauntingly talented children, presented with a blissful lack of preciosity and lots of blazing intelligence and theatricality by director Stephen Daldry and choreographer
Peter Darling.... On the basis of Tuesday's Billy, David Alvarez, the massive demands of this star role have not been overstated. Alvarez is terrific - with a grave-kid undercurrent, lots of unforced charm, finely sculpted long muscles and the ability to unspool ballet wizardry without losing the remarkable elegance of his line. His singing is simple and direct, with a musicality more important than show-biz salesmanship. About those songs. Elton John has written an ambitious, varied, altogether satisfying grown-up score."
Concluding by thanking "
Maggie Thatcher, for giving us something to sing about,"
New York Post's
Barbara Hoffman awards four out of four stars: "proving itself the best gift from Britain since
'Harry Potter.'... But unlike so many shows that plod from screen to stage,
Billy Elliot: The Musical makes the leap from reheated adaptation to reimagined creation. For that we can thank not only director Stephen Daldry, writer Lee Hall and a wonderful cast -- but also Elton John, whose idea it was to make it a musical in the first place.... Whether it's ballet, modern or tap -- or, in one case, tap-dancing while jumping rope -- dance is the show's single best special effect."
Proclaiming that the tuner "really does have something for everyone, and that something is, gloriously, art," Bloomberg's
John Simon is laudatory: "The story unfolds with drama and humor, exciting and tender moments. Expertly staged by Stephen Daldry, it is dazzlingly choreographed by Peter Darling in some breathtaking dance sequences of various genres, from classical ballet to contemporary forms.... There are mostly rousing but occasionally jolly Elton John songs, with simple but apposite lyrics by Lee Hall.... And then, amazingly, there is Billy.... I caught David Alvarez, a riveting prodigy: actor, singer, fabulous ballet and tap dancer (note his double tours) and spectacular acrobat. He combines skills few adults could match, and sustains them throughout a long and demanding evening."
Praising
Billy Elliot as "that rare production -- one that brings all the elements together and creates a fresh emotional experience,"
Joe Dziemianowicz of New York's
Daily News is also similarly enthusiastic: "The show's creative forces -- Stephen Daldry, Lee Hall and Peter Darling -- who repeat duties as director, writer and choreographer, and who are joined by composer Elton John -- are to be commended for bringing
Billy to the theater with smarts, clarity (yes, Americans will 'get' the across-the-pond references, including the expletives), imagination and tender loving care.... Even more than the terrific 2000 movie, the musical amplifies Billy's place in his community.... David Alvarez, who was on at my performance, is a dazzling dancer, strong actor and capable singer. As his brassy ballet teacher in shocking pink (and purple) tights, Haydn Gwynne, who originated the role in London in 2005, is a sublime mix of bark, bite and big-heartedness."
Postulating that the "show both artfully anatomizes and brazenly exploits the most fundamental and enduring appeal of musicals themselves,"
The New York Times'
Ben Brantley is surprisingly smitten: "Mr. Daldry and company turn tripe into triumph by making us understand the depth of the appeal of its classic show-business fairy tale, not only to us but also to the people whose dreary daily existences touch on Billy’s.... The performances, for the most part, are broader than they were in London, with more mugging and heart-tugging stickiness. But the two most essential portrayals -- that of Ms. Gwynne and Mr. Alvarez -- were spot-on the night I saw the show....
Billy Elliot never doubts that it’s the sobriety that endures in life. Which makes those intoxicating, fleet-footed flashes of art, where leaden bodies fly and discord turns into harmony, all the more to be cherished."
Asking, "Who would have guessed that a musical in which conservative economic policies deal a death blow to the working class could be such an uplifting experience?"
Variety's
David Rooney offers praise: "American audiences would have no trouble connecting with the universal sentiment of this bittersweet dual celebration of community and individuality.... The basic plot skeleton of an underdog rescued from adversity by the purity of his artistic pursuit is a familiar one, but it's given integrity here by the rich, melancholy textures of Hall's cultural and political backdrop.... Elton John's songs are more often serviceable than memorable, and the ballads are treacle, but there's a nice, brass-heavy Brit sound to the orchestrations that adds to the show's strong sense of place. Regardless of their quality as showtunes, almost all the significant numbers are elevated by Daldry's propulsive staging into buoyant setpieces."
Citing the show's "unapologetically sentimental score" and "characters ... drawn in broad strokes ... but little nuance,"
USA Today's Elysa Gardner still offers up a three-star review: "Billy Elliot shines brightest when its younger cast members are center stage, particularly when they're on their toes. A few production numbers lean too heavily on cute shtick -- there are dancing dresses and an enormous Thatcher puppet that may scare the kids -- but Peter Darling's choreography makes the raw, restless exuberance of youth accessible to all. In one sequence, Billy imagines and shadows an older version of himself, and both leap across the stage as the rapturous strains of
Tchaikovsky's
Swan Lake swell around them. And for a few moments -- no matter where you're from -- it's impossible to not be transported by this kid's amazing grace."
So with Wall Street in continued meltdown, could
Billy Elliot - The Musical be exactly the right salve at the right time? We'll find out as our next stop is the box office.
This is Steve On Broadway (SOB).
Labels: Billy Elliot The Musical, Broadway, Carole Shelley, Critics' Capsule, David Alvarez, Elton John, Film, Gregory Jbara, Haydn Gwynne, Lee Hall, Musical, Peter Darling, Stephen Daldry
Billy Elliot Ready To Shine On Opening NightThis evening, after 40 preview performances, what is arguably the Broadway Season's most anticipated new tuner finally opens at the
Imperial Theatre. Based on the
2000 film, Billy Elliot The Musical lands on the Great White Way after packing them in across the pond in London for over three years, along with another year of success Down Under.
If the musical seems true to the original movie, it's because of the artistry behind it. Not only does Academy Award nominated director
Stephen Daldry recreate the electricity on stage, but the film's Oscar nominated screenwriter
Lee Hall has also written the tuner's book, as well as the lyrics that accompany the music written by
Sir Elton John.
Actress
Haydn Gwynne is the only transfer from the original West End production. She will recreate the role of Billy's dance teacher Mrs. Wilkinson. Three young actors will alternate as the eponymous character:
David Alvarez this evening, and then
Trent Kowalik and
Kiril Kulish on successive nights. Likewise, the role of Billy's young friend Michael will alternate between
David Bologna and
Frank Dolce.
Other cast members include Broadway veterans
Gregory Jbara as Billy's Dad and
Carole Shelley as Grandma, along with
Santino Fontana as Billy's brother Tony.
Personally, I have not yet purchased my tickets for the Broadway incarnation having already seen both the original London production three years ago this month and the Australian production in Sydney just over three months ago. But you can bet that I'll be providing my critics' capsule of all the major reviews tomorrow.
This is Steve On Broadway (SOB).
Labels: Billy Elliot The Musical, Broadway, Carole Shelley, David Alvarez, Elton John, Film, Gregory Jbara, Kiril Kulish, Lee Hall, Musical, Stephen Daldry, Trent Kowalik
Broadway Preview: Billy Elliot - The MusicalAfter first taking London's West End by storm just over three years ago, the
Lee Hall/
Elton John tuner
Billy Elliot - The Musical is set for its Great White Way debut.
(Interestingly enough, I was supposed to see the show three years ago tonight, but the
performance was canceled due to the 7/7 terrorist bombings that brought London to a standstill. It wasn't until that November when I was finally able to see the musical.)
Based on the highly successful worldwide smash
film from 2000, the stage incarnation begins previews at Broadway's
Imperial Theatre on October 1, with opening night set for November 13.
Stephen Daldry, who directed the movie also helms this musical. It should also be noted that Lee Hall, who is credited with writing the original screenplay, not only wrote the stage show's lyrics, but he also serves as its librettist.
While most casting is yet to be named as they
dig deep beneath the Imperial Theatre to properly house
Ian MacNeil's enormous corkscrew stage design, the three alternating Billys have been announced. They include
David Alvarez,
Trent Kowalik and
Kiril Kulish.
Longtime readers will recall that
Billy Elliot - The Musical ranked eighth on my list of the best shows I saw during the 2005-06 Theatrical Season. You may also recall that
I previously worried that the Broadway producers might find it necessary to dumb down this intrinsically British show for American audiences. Yet, by all accounts (including
Michael Riedel's), this will essentially be the same production I enjoyed in London in late 2005. Riedel noted:
There's been a lot of talk that Billy Elliot -- which is set in a mining town in the north of England and pulls no punches in its left-wing politics - would have to be watered down for Broadway. The working-class British accents would be too hard to understand; the brutal anti-Thatcher, anti-Reagan, anti-capitalism stance might offend Americans; the overall grittiness might be too intense for Broadway audiences doped out on feel-good stage cartoons.
I'm happy to report that John, Daldry and producer Eric Fellner said they decided not to mainstream the musical for Broadway.
The show New York is going to get is the one that's been playing to packed houses in London for the past three years.
Taboo it ain't. That, plus the exceptional score by Hall and John, should help ensure a giant leap in advance ticket sales.
This is Steve On Broadway (SOB).
Click here for tickets.Related Stories:Broadway Preview: Godspell (July 6, 2008)
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Broadway Preview: The Seagull (July 1, 2008)
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Broadway Preview: A Tale Of Two Cities (June 28, 2008)
Broadway Preview: for colored girls who have considered suicide when the rainbow is enuf (June 25, 2008)
Broadway Preview: [title of show] (June 24, 2008)
Broadway: What's Next (June 20, 2008)
Billy Elliot Set To Make Imperial Leap Across Pond (August 21, 2007)
Billy Elliot Leaps One Step Closer To Broadway Bow (October 20, 2006)
Which British Hits Will Be Broadway-Bound? (September 20, 2006)
Billy Elliot Set for 2008 Broadway Bow? (September 6, 2006)
Remembrances of London’s 7/7 (July 7, 2006)
SOB's Best of 2005-06: #8 - Billy Elliot The Musical (May 18, 2006)
Labels: Billy Elliot The Musical, Broadway, David Alvarez, Elton John, Kiril Kulish, Lee Hall, Michael Riedel, Musical, Stephen Daldry, Trent Kowalik
