Euan Morton: Here And Now (The SOB Review) - The Oak Room, The Algonquin Hotel, New York, NY**** (out of ****)Nearly six long years after first being introduced to the incredible musical instrument known as
Euan Morton, I finally had an opportunity to hear one of the stage's single, most beautiful male singing voices live yet again.
Back in the summer of 2002, I was fortunate to take in the original London production of
Taboo.
Having been an early fan of 80s pop band
Culture Club, I was drawn to the show with a promise of seeing
Boy George O'Dowd himself perform as performance artist
Leigh Bowery alongside his very own doppelgänger -- a younger version of himself, portrayed by a then-unknown Scottish double-threat named Euan Morton.
While I went in for Boy George, I came out a fan of the gifted young singer/actor, not only because he effectively became his character, but especially because of that voice, that sweetly angelic voice. He simply blew me away.
Thanks in part to all the negative publicity over the ill-fated Broadway mounting of
Taboo, I opted to count my blessings for having seen the much better received (and by most accounts, better
period) production in the West End and thus skipped the stateside version. The downside to that decision was that with the exception of Morton's 2004 benefit concert appearance in
Hair, there have been absolutely no other opportunities to see this amazing talent sing again on Broadway.
It was a bit of a consolation that Euan Morton eventually hit the Main Stem boards again in last fall's terrific production of
Cyrano de Bergerac in which he took on the dual roles of Lignière and Théophraste Renaudot. While Morton further burnished his solid acting credentials, there was no chance of hearing his dulcet tones.
Thankfully, the fine folks at
The Algonquin Hotel have been savvy enough to bring him into their intimate
Oak Room Cabaret for a
brief weekend stint during the month of March. It gave smart New Yorkers (and others) a first hand look at and listen to how charming and delightful this golden throated tenor truly is. In his Oak Room appearance, he effortlessly belted out tune after tune, reaching every note with incredible ease and precision.
And mind you, it wasn't just a rehash of showtunes. No, Morton offered an eclectic mix that flowed perfectly, whether he was breathing new life into gorgeous old standards like
George Gershwin's classic "Someone To Watch Over Me" or offering his own fresh interpretations on more contemporary tunes like
Roy Orbison's giddily romantic "You Got It," and
Paul Simon's haunting "American Tune" -- a song that has long since been among my all-time personal favorites.
Speaking of haunting, it seemed as though the ghost of
Dorothy Parker herself was trying to interfere with Morton's act as the piano reverberated strangely. Without losing his composure, Morton displayed a healthy dose self-effacing humor, along with friendly and witty repartee with his audience. It's no wonder he is such a consummate performer. It's also no small wonder big names like
Alan Cumming and
Raúl Esparza showed up the same night I was there to applaud his work.
And I was certainly applauding as well, not to mention taking heart that Euan Morton is excited about participating in a workshop for what could very well be one of his next stage musicals -- a bio in which he portrays the legendary
Charlie Chaplin. So it was apropos that one of the final tunes he performed was a heartwrenching rendition of Chaplin's "Smile."
Despite the tears in my eyes, it sure brought a huge smile to my face.
This is Steve On Broadway (SOB).
Labels: Cabaret Act, Euan Morton, Here And Now, New York City, Off-Broadway, Taboo, The SOB Review
Dori Berinstein - The SOB InterviewIn introducing my very first Steve On Broadway (SOB) Interview, I'm pleased to present my Q & A with Broadway producer, documentary director and three time Tony Award winner
Dori Berinstein (pictured in photo by Anita and Steve Shevett).
My questions touched on everything from her superb "
ShowBusiness: The Road To Broadway" documentary film (now available on DVD) to the possible stagehands strike to her work with
Legally Blonde.
In turn, she provided some terrific, candid comments, including on the one Broadway show that did
not grant her access, why
New York Post's
Michael Riedel needs to find new friends, plans for taking
Legally Blonde on tour and to London, and other intriguing irons she currently has stoking in the fire.
Here's Dori Berinstein - The SOB Interview:
Steve On Broadway (SOB): “ShowBusiness: The Road To Broadway” is clearly a labor of love. I enjoyed it so much, I viewed it twice. How long had this documentary been percolating and what was your inspiration?
Dori Berinstein: Thank you! I loved every second making the film.
I read
William Goldman's extraordinary book, "
The Season," about the 1968 Broadway season behind-the-curtain, when I was in college. I was completely captivated. After years of dreaming about one day producing Broadway shows, I knew then, that I also wanted to bring that vibrant, creative, passionate and insular world to life on film.
SOB: I’ve previously described your documentary as a year in the life of Broadway. Was that your original vision?
DB: I wanted to capture a Broadway season inside out. Of course, so much happens over the course of a year. It's impossible to anticipate which shows will hit and which will struggle. I knew going in that our specific story would unfold as the season progressed.
SOB: The 2003-04 Theatrical Season you chronicled coincided with the last chapter of the
PBS documentary, “
Broadway: The American Musical.” Did that documentary inform any of your decisions going into “ShowBusiness” on where to focus?
DB: Not at all.
I know the team behind "Broadway: The American Musical." They're tremendous.
Our projects, though, we're entirely different.
Michael Kantor aspired to chronicle the Broadway musical throughout the 20th century for television. His epic work spanned 6-parts and relied heavily on archival footage, still photos, on-camera interviews, etcetera.
"ShowBusiness," a feature film, is far more specific and personal. We dove into the dramatic lives of a handful of performers, creators, producers, etcetera ... behind-the-curtain during the course of a specific year on Broadway. We were committed to going wherever our story took us. Choices made by other projects were irrelevant.
SOB: While you devote time to virtually all the major shows of Broadway’s 2003-04 season, you focus primarily on four major musicals of the year --
Avenue Q;
Caroline, Or Change,
Taboo and
Wicked -- why these?
DB: Focusing our storytelling on these four shows was an excruciating task. There were so many extraordinary stories to tell about the season. Editors
Richard Hankin and
Adam Zucker were tremendous partners creatively. Ultimately, we focused in on
Avenue Q,
Caroline,
Taboo and
Wicked for three primary reasons:
One, each show had such a unique "road to Broadway," and each show was jam-packed with extraordinary talent, on stage and behind-the-curtain.
Two, the personal stories --
Jeff and
Bobby,
Euan,
Tonya....etcetera -- elevated our story, we believe, making it much more than a "Broadway" film. We wanted our audience, whether or not they were fans of theatre, to get lost in their roller coaster experiences over the course of the year.
Three, we liked the way these four stories could be interwoven and leave our audience with a sense of what it takes to launch and run a show on Broadway.
We could have made the same film with four plays from that season. It was an extremely difficult choice.
SOB: You offer plenty of drama, whether it’s the tensions among the
Avenue Q team or Euan Morton discussing his resident alien status or even just showcasing the bitter cold winter months’ impact on Broadway. How were you able to gain such incredible access from such a wide range of shows and talent?
DB: The Broadway community ... the actors ... the producers ... the publicists ... everyone ... was extraordinary. I am deeply grateful.
The Broadway Unions and Guilds and AFTRA supported our project from the get go, making it all possible.
I imagine being an "insider" ... a Broadway producer for nearly 15 years, helped tremendously. The community knew I shared a deep love of theatre, and while I wanted to paint an honest, accurate picture -- I wasn't looking at all to make anyone or any show look bad.
SOB: Conspicuously absent from your film was
Hugh Jackman’s Tony vehicle
The Boy From Oz. Was that a conscious decision?
DB: I would have loved to capture the creative evolution of
The Boy from Oz. There were 37 show that season.
The Boy From Oz was the only show that denied us access.
SOB: Which of these shows did you have a chance to personally see in their early stages, and which do you believe ultimately enjoyed the greatest metamorphosis?
DB: I had the great good fortune to see each of the shows early on.
Of course, tremendous work was done on
Wicked between their out-of-town run in San Francisco and their Broadway launch. You really don't know what you have, no matter how great the book ... the score ... or the cast, until you get a show up on its feet. Not every creative team, though, dives in and makes such radical changes before coming in. The way the show evolved, and the choices that were made, were quite remarkable. The results speak for themselves.
I also tremendously admire the work done to adapt
Avenue Q to Broadway. Off-Off Broadway, the show was tremendously intimate. Transferring to a larger venue presented huge challenges. How can that intimacy be preserved in a much larger space? From set design, to staging, to storytelling, incredible work was done to make the transition seamless.
SOB: Of all the shows you featured, did any one become a favorite of yours?
DB: I was so close to each show that season. There was no way to have favorites.
SOB: I loved the kibitzing among the theatre critics and pundits. How difficult was that to accomplish, and was there any reason why
Ben Brantley and
John Lahr were interviewed apart from the rest?
DB: I was eager for the critic "lunch" to be as organic as possible. This group of critics knows each other. Lunching together, chatting about the season, was very conceivable.
Ben Brantley and John Lahr wouldn't naturally be part of that group. I did feel their perspectives were very important -- Brantley, as the lead theatre critic for the tremendously powerful
New York Times and John Lahr, a wonderful writer and great defender of
Caroline, Or Change.
SOB: Michael Riedel makes an astute observation in your documentary that “My peers who are not in the theatre do not go to a theatre, it has fallen off their entertainment landscape.” What must live theatre do to get back on that landscape?
DB: Michael needs some new friends!
I think Broadway has come a long way in 5 years.
Wicked,
Lion King,
Beauty And The Beast, in particular, certainly catapulted interest in Broadway by a younger demographic.
Shows like
Avenue Q,
Rent,
Spring Awakening and
Legally Blonde also have had, and continue to have, a huge impact on teen and young adult theatre-going.
When I look at the shows now in development for Broadway next year and beyond, I see tremendous diversity ... shows that are sure to bring in audiences of all ages.
SOB: You’re currently represented on Broadway through
Legally Blonde. Did you get the box office bounce you were seeking from the
MTV experiment?
DB: We are thrilled with the response to
Blonde on MTV. The ratings surpassed everyone's expectations and our CD catapulted to #1 on
iTunes. Clearly, we're going to benefit from the MTV airing for many years to come. Given the great nationwide response, I suspect we'll continue to see the positive impact of the MTV airing as the
Blonde U.S. Tour kicks off late next summer.
SOB: In making this documentary as an accomplished Broadway producer, did you learn anything new that surprised you about the theatrical art form?
DB: When you work on a show as a producer, an actor, a creator ... you're myopically focused. Time is scarce ... you barely know what's happening outside your theatre walls. It was fascinating to see inside each of the shows that season and realize, irregardless of scope ... of pre-promotability ... of talent involved ... that they all shared this fierce passion for what they were doing. The risks, creative and financial were stark, for everyone. It didn't matter if it was a small play or a giant musical. It's that passion, that risk, that commitment to the art that unites the community. It was thrilling to see.
SOB: I’ve been covering the ongoing labor dispute with the stagehands. Any thoughts on how the current impasse can be broken?
DB: Wish I knew! So hoping the dispute can be resolved without a strike.
SOB: What’s next for Dori Berinstein?
DB: I've just completed post production on a new documentary, "Some Assembly Required," about kids competing in a national toy invention competition and am nearing the end of principal photography on another doc, about the
New Jersey Nets Senior Hip Hop Dance Team.
For Broadway, several new projects I'm tremendously excited about are in the works. As those brew, focus continues on
Legally Blonde in New York, the upcoming U.S. Tour and our launch in London.
SOB: Thanks so much for joining Steve On Broadway (SOB)!
DB: Thank you Steve!
This is Steve On Broadway (SOB).
Related Stories:ShowBusiness: Year In The Life Of Broadway (October 16, 2007)
Labels: Avenue Q, Broadway, Caroline Or Change, Documentary, Dori Berinstein, DVD, Legally Blonde, ShowBusiness The Road To Broadway, Taboo, The SOB Interview, Wicked
ShowBusiness: Year In The Life Of BroadwayDoes all the talk of labor woes on the Great White Way have you already searching out an appropriate substitute should the shows go dark? If so, there's a new DVD that may be just the ticket.
Whether it’s the cold depths of the winter doldrums or the soaring heights of a Broadway opening night, “
ShowBusiness: The Road To Broadway” packs it all in. (I was provided with a special advance screener.)
This new documentary film by
Dori Berinstein follows the backstage drama of four of the most talked about shows from the 2003-04 Theatrical Season --
Avenue Q,
Caroline, Or Change,
Taboo and
Wicked -- from inception to openings and ensuing critical reactions to Tony night. A Broadway producer herself, Berinstein was afforded considerable backstage access to capture all the highs and lows in one remarkable package.
One of my favorite recurring segments in this 104-minute documentary (along with more than an hour of excellent extras) is the kibitzing of Broadway critics and columnists -- including
New York Post's Michael Riedel, former
Variety critic Charles Isherwood and
Newsday's Linda Winer, among others -- who gather to dish on which shows they think will make it, as well as those they think will flop. Most amusing is how flat-out wrong Riedel is about the prospects for both
Avenue Q ("Going for an audience that doesn't exist") and
Wicked ("It has a lot of problems"). There's even a couple cameos by none other than the great Ben Brantley of
The New York Times.
The documentary made me lament never having seen
Tony Kushner and
Jeanine Tesori's
Caroline, Or Change. Through the unfiltered access, the viewer gets an inside look at their painstaking effort to get it just right. And to see its extremely animated, ardent director
George C. Wolfe is worth the price of the DVD alone, especially in tenderly admonishing one of his young actors to be more genuine by saying, "That moment is almost dangerously perilously close to being so incredibly inauthentic that it’s frightening.”
On the flip side, the juvenile nature of
Avenue Q is exposed, including the contempt between librettist
Jeff Whitty and the scoring duo who came up with the concept back in 1999 (beginning as a "million dollar idea" for television),
Jeff Marx and
Robert Lopez. There's a revelation on how cavalier they were in writing their work, especially in comparison to the angst Kuschner and Tesori clearly felt in striving to hit just the right note.
Yet when Marx and Lopez realize their success is for real, you can’t help but be moved. There's an especially cute moment where they ask
Boy George for a photo (George refuses), but their excitement is palpable pondering how they’ll be up against him for a Tony (
guess who wins?).
Boy George delivers one of the most impassioned critiques within the entire documentary: “The critics, the people that are supposed to be championing, you know sort of holding up this great artform are the people that are destroying it. That’s the biggest irony of all you know. It’s like don’t go on about how we must save this you know valuable artform and then do everything you can to make it fail. Because if you’d stop shows like
Taboo being successful or just being on Broadway all you’re ever going to have is
Andrew Lloyd Webber for the rest of your lives.”
Fortunately for audiences, Berinstein's wonderful documentary preserves the revered and the panned for generations to see how four very different shows made their way to the Great White Way. For anyone who loves theatre, or even simply has one favorite among these four primary shows, this documentary delivers.
The DVD of "ShowBusiness: The Road To Broadway" is available starting today.
This is Steve On Broadway (SOB).
Labels: Avenue Q, Broadway, Caroline Or Change, Documentary, DVD, Musical, Taboo, Wicked
