Steve On Broadway (SOB)

And The Tony Goes To...

And The Tony Goes To...

Moments ago, the American Theatre Wing and Broadway League's 63rd Annual Tony Awards hosted by Neil Patrick Harris became history!

Billy Elliot - The Musical was the evening's biggest winner, including for Best Musical, but God Of Carnage had a great night among new dramatic works, winning Best Play. And my personal favorite show of the year The Norman Conquests earned Best Revival of a Play ... in prime time! And Hair won Best Revival of a Musical as it should have.


Here are all the nominees and winners:

Best Play
Dividing The Estate - Horton Foote, Author
God Of Carnage - Yasmine Reza, Author **Winner**
reasons to be pretty - Neil LaBute, Author
33 Variations - Moises Kaufman, Author

Best Musical
Billy Elliot - The Musical **Winner**
next to normal
Rock Of Ages
Shrek The Musical

Best Book of a Musical
Billy Elliot - The Musical - Lee Hall **Winner**
next to normal - Brian Yorkey
Shrek The Musical - David Lindsay-Abaire
[title of show] - Hunter Bell

Best Original Score (Music and/or Lyrics) Written for the Theatre
Billy Elliot - The Musical - Music: Elton John, Lyrics: Lee Hall
next to normal - Music: Tom Kitt, Lyrics: Brian Yorkey ** Winner**
9 To 5 -The Musical - Music & Lyrics: Dolly Parton
Shrek The Musical - Music: Jeanine Tesori, Lyrics: David Lindsay-Abaire

Best Revival of a Play
Joe Turner's Come And Gone
Mary Stuart
The Norman Conquests **Winner**
Waiting For Godot

Best Revival of a Musical
Guys And Dolls
Hair **Winner**
Pal Joey
West Side Story

Best Special Theatrical Event
Liza's At The Palace **Winner**
Slava's Snowshow
Soul Of Shaolin
You're Welcome America. A Final Night With George W Bush

Best Performance by a Leading Actor in a Play
Jeff Daniels - God Of Carnage
Raúl Esparza - Speed-The-Plow
James Gandolfini - God Of Carnage
Geoffrey Rush - Exit The King **Winner**
Thomas Sadoski - reasons to be pretty

Best Performance by a Leading Actress in a Play
Hope Davis - God Of Carnage
Jane Fonda - 33 Variations
Marcia Gay Harden - God Of Carnage **Winner**
Janet McTeer - Mary Stuart
Harriet Walter - Mary Stuart

Best Performance by a Leading Actor in a Musical
David Alvarez, Trent Kowalik, and Kiril Kulish - Billy Elliot - The Musical **Winners**
Gavin Creel - Hair
Brian d'Arcy James - Shrek The Musical
Constantine Maroulis - Rock Of Ages
J. Robert Spencer - next to normal

Best Performance by a Leading Actress in a Musical
Stockard Channing - Pal Joey
Sutton Foster - Shrek The Musical
Allison Janney - 9 To 5 - The Musical
Alice Ripley - next to normal **Winner**
Josefina Scaglione - West Side Story

Best Performance by a Featured Actor in a Play
John Glover - Waiting For Godot
Zach Grenier - 33 Variations
Stephen Mangan - The Norman Conquests
Paul Ritter - The Norman Conquests
Roger Robinson - Joe Turner's Come And Gone **Winner**

Best Performance by a Featured Actress in a Play
Hallie Foote - Dividing The Estate
Jessica Hynes - The Norman Conquests
Marin Ireland - reasons to be pretty
Angela Lansbury - Blithe Spirit **Winner**
Amanda Root - The Norman Conquests

Best Performance by a Featured Actor in a Musical
David Bologna - Billy Elliot - The Musical
Gregory Jbara - Billy Elliot - The Musical **Winner**
Marc Kudisch - 9 To 5 - The Musical
Christopher Sieber - Shrek The Musical
Will Swenson - Hair

Best Performance by a Featured Actress in a Musical
Jennifer Damiano - next to normal
Haydn Gwynne - Billy Elliot - The Musical
Karen Olivo - West Side Story **Winner**
Martha Plimpton- Pal Joey
Carole Shelley - Billy Elliot - The Musical

Best Scenic Design of a Musical
Robert Brill - Guys And Dolls
Ian MacNeil - Billy Elliot - The Musical **Winner**
Scott Pask - Pal Joey
Mark Wendland - next to normal

Best Scenic Design of a Play
Dale Ferguson - Exit The King
Rob Howell - The Norman Conquests
Derek McLane - 33 Variations **Winner**
Michael Yeargan - Joe Turner's Come And Gone

Best Costume Design of a Play
Dale Ferguson - Exit The King
Jane Greenwood - Waiting For Godot
Martin Pakledinaz - Blithe Spirit
Anthony Ward - Mary Stuart **Winner**

Best Costume Design of a Musical
Gregory Gale - Rock Of Ages
Nicky Gillibrand - Billy Elliot - The Musical
Tim Hatley - Shrek The Musical **Winner**
Michael McDonald - Hair

Best Lighting Design of a Play
David Hersey - Equus
David Lander - 33 Variations
Brian MacDevitt - Joe Turner's Come And Gone **Winner**
Hugh Vanstone - Mary Stuart

Best Lighting Design of a Musical
Kevin Adams - Hair
Kevin Adams - next to normal
Howell Binkley - West Side Story
Rick Fisher - Billy Elliot - The Musical **Winner**

Best Sound Design of a Play
Paul Arditti - Mary Stuart
Gregory Clarke - Equus **Winner**
Russell Goldsmith - Exit The King
Scott Lehrer and Leon Rothenberg - Joe Turner's Come And Gone

Best Sound Design of a Musical
Acme Sound Partners - Hair
Paul Arditti - Billy Elliot - The Musical **Winner**
Peter Hylenski - Rock Of Ages
Brian Ronan - next to normal

Best Direction of a Play
Phyllida Lloyd - Mary Stuart
Bartlett Sher - Joe Turner's Come And Gone
Matthew Warchus - God Of Carnage **Winner**
Matthew Warchus - The Norman Conquests

Best Direction of a Musical
Stephen Daldry - Billy Elliot - The Musical **Winner**
Michael Greif - next to normal
Kristin Hanggi - Rock Of Ages
Diane Paulus - Hair

Best Choreography
Karole Armitage - Hair
Andy Blankenbuehler - 9 To 5 - The Musical
Peter Darling - Billy Elliot - The Musical **Winner**
Randy Skinner - Irving Berlin's White Christmas

Best Orchestrations
Larry Blank- Irving Berlin's White Christmas
Martin Koch - Billy Elliot - The Musical **TIE Winner**
Michael Starobin and Tom Kitt - next to normal **TIE Winner**
Danny Troob and John Clancy - Shrek The Musical

So, dear readers, are you happy with the results? I'll provide my own perspective on the winners and the overlooked tomorrow.

This is Steve On Broadway (SOB).

Labels: Billy Elliot The Musical, God Of Carnage, Hair, The Norman Conquests, Tony Awards, Tony Nominations

posted by Steve On Broadway (SOB) @ Sunday, June 07, 2009 1 comments

And The 2008-09 Tony Nominations Go To...

And The 2008-09 Tony Nominlations Go To...

Early today, the nominations for the American Theatre Wing’s 63rd annual Tony Awards ceremonies were announced by Cynthia Nixon and Lin-Manuel Miranda.

British import and box office champ Billy Elliot - The Musical earned a whopping 15 nominations and is heavily favored to win the coveted Best Musical Tony. But Off-Broadway-cum-Great White Way tuner next to normal isn't far behind with 11 nods.

Among new plays, another British import God Of Carnage appears to be the early favorite for Best Play with 6 nominations.

The big surprise may be the complete lack of nominations for the revivals of All My Sons and The Seagull -- critical darlings from last fall (I didn't care much for either) -- and the meager nods for late last year's much talked about revival of Equus.

My own personal favorite for Best Revival of a Play would have been Speed-The-Plow, but alas, it was overlooked, as were [title of show] and 13 in the category of Best Musical.


Here are the 2008-09 Tony Nominees:

Best Play
Dividing The Estate - Horton Foote, Author
God Of Carnage - Yasmine Reza, Author
reasons to be pretty - Neil LaBute, Author
33 Variations - Moises Kaufman, Author

Best Musical
Billy Elliot - The Musical
next to normal
Rock Of Ages
Shrek The Musical

Best Book of a Musical
Billy Elliot - The Musical - Lee Hall
next to normal - Brian Yorkey
Shrek The Musical - David Lindsay-Abaire
[title of show] - Hunter Bell

Best Original Score (Music and/or Lyrics) Written for the Theatre
Billy Elliot - The Musical - Music: Elton John, Lyrics: Lee Hall
next to normal - Music: Tom Kitt, Lyrics: Brian Yorkey
9 To 5 -The Musical - Music & Lyrics: Dolly Parton
Shrek The Musical - Music: Jeanine Tesori, Lyrics: David Lindsay-Abaire

Best Revival of a Play
Joe Turner's Come And Gone
Mary Stuart
The Norman Conquests
Waiting For Godot

Best Revival of a Musical
Guys And Dolls
Hair
Pal Joey
West Side Story

Best Special Theatrical Event
Liza's At The Palace
Slava's Snowshow
Soul Of Shaolin
You're Welcome America. A Final Night With George W Bush

Best Performance by a Leading Actor in a Play
Jeff Daniels - God Of Carnage
Raúl Esparza - Speed-The-Plow
James Gandolfini - God Of Carnage
Geoffrey Rush - Exit The King
Thomas Sadoski - reasons to be pretty

Best Performance by a Leading Actress in a Play
Hope Davis - God Of Carnage
Jane Fonda - 33 Variations
Marcia Gay Harden - God Of Carnage
Janet McTeer - Mary Stuart
Harriet Walter - Mary Stuart

Best Performance by a Leading Actor in a Musical
David Alvarez, Trent Kowalik, and Kiril Kulish - Billy Elliot - The Musical
Gavin Creel - Hair
Brian d'Arcy James - Shrek The Musical
Constantine Maroulis - Rock Of Ages
J. Robert Spencer - next to normal

Best Performance by a Leading Actress in a Musical
Stockard Channing - Pal Joey
Sutton Foster - Shrek The Musical
Allison Janney - 9 To 5 - The Musical
Alice Ripley - next to normal
Josefina Scaglione - West Side Story

Best Performance by a Featured Actor in a Play
John Glover - Waiting For Godot
Zach Grenier - 33 Variations
Stephen Mangan - The Norman Conquests
Paul Ritter - The Norman Conquests
Roger Robinson - Joe Turner's Come And Gone

Best Performance by a Featured Actress in a Play
Hallie Foote - Dividing The Estate
Jessica Hynes - The Norman Conquests
Marin Ireland - reasons to be pretty
Angela Lansbury - Blithe Spirit
Amanda Root - The Norman Conquests

Best Performance by a Featured Actor in a Musical
David Bologna - Billy Elliot - The Musical
Gregory Jbara - Billy Elliot - The Musical
Marc Kudisch - 9 To 5 - The Musical
Christopher Sieber - Shrek The Musical
Will Swenson - Hair

Best Performance by a Featured Actress in a Musical
Jennifer Damiano - next to normal
Haydn Gwynne - Billy Elliot - The Musical
Karen Olivo - West Side Story
Martha Plimpton- Pal Joey
Carole Shelley - Billy Elliot - The Musical

Best Scenic Design of a Musical
Robert Brill - Guys And Dolls
Ian MacNeil - Billy Elliot - The Musical
Scott Pask - Pal Joey
Mark Wendland - next to normal

Best Scenic Design of a Play
Dale Ferguson - Exit The King
Rob Howell - The Norman Conquests
Derek McLane - 33 Variations
Michael Yeargan - Joe Turner's Come And Gone

Best Costume Design of a Play
Dale Ferguson - Exit The King
Jane Greenwood - Waiting For Godot
Martin Pakledinaz - Blithe Spirit
Anthony Ward - Mary Stuart

Best Costume Design of a Musical
Gregory Gale - Rock Of Ages
Nicky Gillibrand - Billy Elliot - The Musical
Tim Hatley - Shrek The Musical
Michael McDonald - Hair

Best Lighting Design of a Play
David Hersey - Equus
David Lander - 33 Variations
Brian MacDevitt - Joe Turner's Come And Gone
Hugh Vanstone - Mary Stuart

Best Lighting Design of a Musical
Kevin Adams - Hair
Kevin Adams - next to normal
Howell Binkley - West Side Story
Rick Fisher - Billy Elliot - The Musical

Best Sound Design of a Play
Paul Arditti - Mary Stuart
Gregory Clarke - Equus
Russell Goldsmith - Exit The King
Scott Lehrer and Leon Rothenberg - Joe Turner's Come And Gone

Best Sound Design of a Musical
Acme Sound Partners - Hair
Paul Arditti - Billy Elliot - The Musical
Peter Hylenski - Rock Of Ages
Brian Ronan - next to normal

Best Direction of a Play
Phyllida Lloyd - Mary Stuart
Bartlett Sher - Joe Turner's Come And Gone
Matthew Warchus - God Of Carnage
Matthew Warchus - The Norman Conquests

Best Direction of a Musical
Stephen Daldry - Billy Elliot - The Musical
Michael Greif - next to normal
Kristin Hanggi - Rock Of Ages
Diane Paulus - Hair

Best Choreography
Karole Armitage - Hair
Andy Blankenbuehler - 9 To 5 - The Musical
Peter Darling - Billy Elliot - The Musical
Randy Skinner - Irving Berlin's White Christmas

Best Orchestrations
Larry Blank- Irving Berlin's White Christmas
Martin Koch - Billy Elliot - The Musical
Michael Starobin and Tom Kitt - next to normal
Danny Troob and John Clancy - Shrek The Musical


To be honest, there are too many nominated shows I have yet to see that the nods have left me a bit bewildered. Although there are plenty of stagings I've already seen that to date may have gone unreviewed, there are others that I will at least see prior to the Tonys, thankfully. But there are those -- including Tony-nominated efforts -- I'm not likely to see prior to the Tony Awards, if at all.

Unlike last year when I saw every nominated Broadway production, my plans to keep up during the 2008-09 Theatrical Season were foiled by three significant factors:

(1) The bad economy, meaning I simply was not willing to pay to see every single musical or play (yes, I pay my own way);
(2) Too many shows opening at the end of the season in a proverbial clusterf***, well, you know what I mean; and
(3) A very difficult year of working overtime ensuring that my day job was secure -- in this economy, we have to protect our livelihoods, right?!

So, dear readers, what do you think of the nominations?

This is Steve On Broadway (SOB).

Labels: Broadway, Tony Awards, Tony Nominations

posted by Steve On Broadway (SOB) @ Tuesday, May 05, 2009 4 comments

SOB's 2009 Tony Picks

SOB's 2009 Tony Picks

The American Theatre Wing’s 63rd annual Tony Awards ceremonies honor the best of Broadway's 2008-09 Theatrical Season, so it's time for me to place my wagers on those nominees I believe will actually win, as well as tell you whom I think should win.

Unlike last year when I saw every single nominated show, I pulled back on my theatregoing this year because I actually pay for each and every ticket (there were more shows opening this year vs. last, making this an expensive habit for anyone trying to see everything).

Of the 44 new Broadway shows and revivals that opened on the Great White Way during the 2008-09 Theatrical Season, I saw 28 of them - the number increases to 31 if you count my previous viewings of Billy Elliot - The Musical (2005) and God Of Carnage (2008) in London and White Christmas in St. Paul (2006), and even 32 if you count my earlier Off-Broadway viewing of [title of show](2006).

The productions I never had a chance to see before they closed include Cirque Dreams, A Tale Of Two Cities, A Man For All Seasons, American Buffalo, Dividing The Estate or Soul Of Shaolin. Of the current shows, I most likely will not see Irene's Vow, The Philanthropist, Accent On Youth or, sorry to say, Joe Turner's Come And Gone. But I already have post-Tony Award tickets to see both Mary Stuart and Waiting For Godot.

Here are the nominees and my picks (I'm recusing myself from offering any "should wins" if I have not seen all the shows or performances):

Best Play
Dividing The Estate - Horton Foote, Author
God Of Carnage - Yasmine Reza, Author Will win
reasons to be pretty - Neil LaBute, Author
33 Variations - Moises Kaufman, Author

Best Musical
Billy Elliot - The Musical Will win
next to normal Should win
Rock Of Ages
Shrek The Musical

Best Book of a Musical
Billy Elliot - The Musical - Lee Hall Will win
next to normal - Brian Yorkey
Shrek The Musical - David Lindsay-Abaire
[title of show] - Hunter Bell Should win

Best Original Score (Music and/or Lyrics) Written for the Theatre
Billy Elliot - The Musical - Music: Elton John, Lyrics: Lee Hall Will win / Should win
next to normal - Music: Tom Kitt, Lyrics: Brian Yorkey
9 To 5 -The Musical - Music & Lyrics: Dolly Parton
Shrek The Musical - Music: Jeanine Tesori, Lyrics: David Lindsay-Abaire

Best Revival of a Play
Joe Turner's Come And Gone
Mary Stuart
The Norman Conquests Will win
Waiting For Godot

Best Revival of a Musical
Guys And Dolls
Hair Will win / Should win
Pal Joey
West Side Story

Best Special Theatrical Event
Liza's At The Palace Will win
Slava's Snowshow
Soul Of Shaolin
You're Welcome America. A Final Night With George W Bush

Best Performance by a Leading Actor in a Play
Jeff Daniels - God Of Carnage
Raúl Esparza - Speed-The-Plow
James Gandolfini - God Of Carnage
Geoffrey Rush - Exit The King Will win
Thomas Sadoski - reasons to be pretty

Best Performance by a Leading Actress in a Play
Hope Davis - God Of Carnage
Jane Fonda - 33 Variations
Marcia Gay Harden - God Of Carnage Will win
Janet McTeer - Mary Stuart
Harriet Walter - Mary Stuart

Best Performance by a Leading Actor in a Musical
David Alvarez, Trent Kowalik, and Kiril Kulish - Billy Elliot - The Musical Will win
Gavin Creel - Hair
Brian d'Arcy James - Shrek The Musical
Constantine Maroulis - Rock Of Ages
J. Robert Spencer - next to normal

Best Performance by a Leading Actress in a Musical
Stockard Channing - Pal Joey
Sutton Foster - Shrek The Musical
Allison Janney - 9 To 5 - The Musical
Alice Ripley - next to normal Will win / Should win
Josefina Scaglione - West Side Story

Best Performance by a Featured Actor in a Play
John Glover - Waiting For Godot
Zach Grenier - 33 Variations
Stephen Mangan - The Norman Conquests
Paul Ritter - The Norman Conquests
Roger Robinson - Joe Turner's Come And Gone Will win

Best Performance by a Featured Actress in a Play
Hallie Foote - Dividing The Estate
Jessica Hynes - The Norman Conquests
Marin Ireland - reasons to be pretty
Angela Lansbury - Blithe Spirit Will win
Amanda Root - The Norman Conquests

Best Performance by a Featured Actor in a Musical
David Bologna - Billy Elliot - The Musical
Gregory Jbara - Billy Elliot - The Musical
Marc Kudisch - 9 To 5 - The Musical
Christopher Sieber - Shrek The Musical
Will Swenson - Hair Will win

Best Performance by a Featured Actress in a Musical
Jennifer Damiano - next to normal
Haydn Gwynne - Billy Elliot - The Musical
Karen Olivo - West Side Story Will win
Martha Plimpton- Pal Joey
Carole Shelley - Billy Elliot - The Musical

Best Scenic Design of a Musical
Robert Brill - Guys And Dolls
Ian MacNeil - Billy Elliot - The Musical Will win
Scott Pask - Pal Joey
Mark Wendland - next to normal Should win

Best Scenic Design of a Play
Dale Ferguson - Exit The King
Rob Howell - The Norman Conquests Will win
Derek McLane - 33 Variations
Michael Yeargan - Joe Turner's Come And Gone

Best Costume Design of a Play
Dale Ferguson - Exit The King
Jane Greenwood - Waiting For Godot
Martin Pakledinaz - Blithe Spirit
Anthony Ward - Mary Stuart Will win

Best Costume Design of a Musical
Gregory Gale - Rock Of Ages
Nicky Gillibrand - Billy Elliot - The Musical
Tim Hatley - Shrek The Musical Will win / Should win
Michael McDonald - Hair

Best Lighting Design of a Play
David Hersey - Equus
David Lander - 33 Variations
Brian MacDevitt - Joe Turner's Come And Gone
Hugh Vanstone - Mary Stuart Will win

Best Lighting Design of a Musical
Kevin Adams - Hair Will win / Should win
Kevin Adams - next to normal
Howell Binkley - West Side Story
Rick Fisher - Billy Elliot - The Musical

Best Sound Design of a Play
Paul Arditti - Mary Stuart
Gregory Clarke - Equus
Russell Goldsmith - Exit The King Will win
Scott Lehrer and Leon Rothenberg - Joe Turner's Come And Gone

Best Sound Design of a Musical
Acme Sound Partners - Hair
Paul Arditti - Billy Elliot - The Musical
Peter Hylenski - Rock Of Ages
Brian Ronan - next to normal Will win / Should win

Best Direction of a Play
Phyllida Lloyd - Mary Stuart
Bartlett Sher - Joe Turner's Come And Gone
Matthew Warchus - God Of Carnage
Matthew Warchus - The Norman Conquests Will win

Best Direction of a Musical
Stephen Daldry - Billy Elliot - The Musical Will win
Michael Greif - next to normal
Kristin Hanggi - Rock Of Ages
Diane Paulus - Hair Should win

Best Choreography
Karole Armitage - Hair
Andy Blankenbuehler - 9 To 5 - The Musical
Peter Darling - Billy Elliot - The Musical Will win / Should win
Randy Skinner - Irving Berlin's White Christmas

Best Orchestrations
Larry Blank- Irving Berlin's White Christmas
Martin Koch - Billy Elliot - The Musical Will win / Should win
Michael Starobin and Tom Kitt - next to normal
Danny Troob and John Clancy - Shrek The Musical

So fellow theatregoers, do you agree with these picks? Or do you think I'm terribly misinformed? Either way -- or wherever in between -- I invite you to weigh in.

Finally, don't forget that the Tony Awards begin at 7 p.m. EDT Sunday, June 7, although the live CBS telecast starts at 8 p.m.

This is Steve On Broadway (SOB).

Labels: Best Revival of Plays, Best Revivals of Musicals, Broadway, Musical, Play, Tony Awards, Tony Nominations, Tony Predictions

posted by Steve On Broadway (SOB) @ Saturday, June 06, 2009 0 comments

SOB's Best of 2005-06: #8 - Billy Elliot The Musical (Victoria Palace Theatre, London, UK)

SOB's Best of 2005-06: #8 - Billy Elliot The Musical (Victoria Palace Theater, London, UK)

"Electricity." That's not only how both the movie and stage Billy Elliots describe their feeling when dancing -- it's also what enraptured audiences are experiencing when stepping inside the London's Victoria Palace Theatre to witness the best original musical of the 2005-06 season. Billy Elliot The Musical shines.

Forget the drubbing that Sir Elton John's musical Lestat took. Clearly, his work on Billy Elliot The Musical came from the heart. The score, with lyrics by Lee Hall (who also wrote the original screenplay for the 2000 movie), climbs throughout the show until it simply soars. And then there's the awe-inspiring dancing that amazes, thanks to brilliant choreography by Peter Darling and the production's incomparable, young talent. Although I only saw one of the three rotating Billys (I saw the magnificent George Maguire), I was blown away by his natural grace. He and his teenage castmates made their moves look so easy.

For anyone who does not know the story -- helmed on film and again on stage by Stephen Daldry -- Billy Elliot is about a young boy growing up alienated from his widowed father, a striking miner. Set in 1984 against a turbulent northern England backdrop, Billy's father thinks his son is dutifully taking boxing classes, when in reality, Billy has followed his heart and passion studying dance. Showing enormous promise, Billy secretly practices for an audition at the Royal Ballet School only to be found out by his father.

Billy Elliot is rich with layered story-telling about the pivotal choices made in life, and is ultimately a celebration of individuality. Just as the score builds, so does the exquisite plot.

Fortunately, it looks as though American audiences will be able to experience Billy Elliot stateside in the next couple years. But since so many British imports are dramatically altered, often for the worse, I heartily recommend making the journey to London's Victoria Palace to see this inspirational production. (And a side note, the Victoria Palace will forever be in my heart as the venue where I saw my very first Broadway musical, Annie, way back in 1979.) For all these reasons, Billy Elliot The Musical ranks eighth on my SOB Best of 2005-06 Theatre list.

This is Steve On Broadway (SOB).

Click here for tickets.
Related Stories:
SOB's Best of 2005-06: #1 - Theater Of The New Ear (Royce Hall, UCLA, Los Angeles, CA) (May 30, 2006)
SOB’s Best of 2005-06: #2 – Guys And Dolls (Piccadilly Theatre, London, UK) (May 26, 2006)
SOB’s Best of 2005-06: #3 – Hedda Gabler (Brooklyn Academy of Music – Harvey Theatre, New York, NY) (May 25, 2006)
SOB’s Best of 2005-06: #4 – A Blameless Life (Steppenwolf Garage, Chicago, IL) (May 24, 2006)
SOB’s Best of 2005-06: #5 – Reeling (The Children’s Theatre Company, Minneapolis, MN) (May 23, 2006)
SOB’s Best of 2005-06: #6 – “MASTER HAROLD”…And The Boys (Steppenwolf Theatre, Chicago, IL) (May 21, 2006)
SOB’s Best of 2005-06: #7 – Love Song (Steppenwolf Theatre, Chicago, IL) (May 19, 2006)
SOB's Best of 2005-06: #9 - The Well-Appointed Room (Steppenwolf Theatre, Chicago, IL) (May 17, 2006)
SOB's Best of 2005-06: #10 - Sweeney Todd, The Demon Barber of Fleet Street (Eugene O'Neill Theatre, New York, NY) (May 15, 2006)
The SOB Five "Worst" of 2005-06 (May 12, 2006)
SOB's Best and Worst of 2005-06 Theatre Season (May 12, 2006)
Billy Elliot in Triplicate on First Birthday (May 9, 2006)
Critics Sink Their Fangs Into Lestat (April 26, 2006)

Labels: Billy Elliot The Musical, Elton John, London, Musical, SOB's Best of 2005-06

posted by Steve On Broadway (SOB) @ Thursday, May 18, 2006 0 comments

Broadway Preview: Billy Elliot - The Musical

Broadway Preview: Billy Elliot - The Musical

After 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)
Broadway Preview: All My Sons (July 5, 2008)
Broadway Preview: A Man For All Seasons (July 3, 2008)
Broadway Preview: To Be Or Not To Be (July 2, 2008)
Broadway Preview: The Seagull (July 1, 2008)
Broadway Preview: Equus (June 30, 2008)
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

posted by Steve On Broadway (SOB) @ Monday, July 07, 2008 4 comments

Billy Elliot Dances Way Into Critics' Hearts

Billy Elliot Dances Way Into Critics' Hearts

Last 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

posted by Steve On Broadway (SOB) @ Friday, November 14, 2008 0 comments

Billy Elliot Leaps One Step Closer To Broadway Bow

Billy Elliot Leaps One Step Closer To Broadway Bow

As noted here last month, producers of Billy Elliot The Musical are gearing up to bring the Olivier Award-winning Best Musical to Broadway with their eyes on a debut set for the fall of 2008. According to Andrew Gans of Playbill.com, a casting notice has now been issued stating rehearsals are slated for February, 2008.

Gans also reports that a third version of the hit musical -- produced by Universal Pictures, Working Title and Old Vic Productions -- will enjoy its Australian premiere at Sydney's Capitol Theatre on January 26, 2008.

Billy Elliot, of course, is based on the outstanding motion picture of the same name. As I've previously divulged, the London staging of Billy Elliot ranks among my personal top ten favorite shows of the 2005-06 Theatrical Season.

This is Steve On Broadway (SOB).

Click here for tickets to the London production.
Related Stories:
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 (Victoria Palace Theatre, London, UK) (May 18, 2006)
Billy Elliot in Triplicate on First Birthday (May 9, 2006)

Labels: Billy Elliot The Musical, Broadway, London, Musical

posted by Steve On Broadway (SOB) @ Friday, October 20, 2006 0 comments

Billy Elliot Set for 2008 Broadway Bow?

Billy Elliot Set for 2008 Broadway Bow?

According to Michael Riedel in this morning's New York Post, Billy Elliot The Musical is almost officially Broadway-bound. Riedel states, "The finishing touches have just been put on a deal to bring the Elton John musical to the Imperial Theatre in the fall of 2008."

After having opened last year in London to widespread critical praise (including from The New York Times' Ben Brantley), Billy Elliot The Musical received the Olivier Award for Best Musical for 2006. I saw the show last November and ranked it among the top ten shows I saw during the 2005-06 Theatrical Season.

Despite all the enthusiasm including mine, the nagging question remains whether this decidedly British story -- complete with sometimes hard-to-understand English slang -- can be easily imported to Broadway (after so many trips to the UK, I personally didn't have too much difficulty understanding the accents, but I can certainly see how many discriminating American ears may not comprehend the dialogue quite as well). Riedel says the production team is polishing up the show, and he quotes producer Eric Fellner, who states bluntly, "It is quite daunting, taking this quintessentially British show to Broadway. We are not altering the location or the character of the piece. We just want to make sure the Britishness travels."

Speaking of travel, should the Imperial Theatre's next occupant -- High Fidelity -- soar, it will need to take flight to another theatre a little more than a year and a half into its run to make way for Billy Elliot.

This is Steve On Broadway (SOB).

Click here for tickets to Billy Elliot The Musical - London.
Related Stories:
High Fidelity Tunes In To High Capacity Imperial (August 24, 2006)
Remembrances of London’s 7/7 (July 7, 2006)
SOB's Best of 2005-06: #8 - Billy Elliot The Musical (Victoria Palace Theatre, London, UK) (May 18, 2006)
Billy Elliot in Triplicate on First Birthday (May 9, 2006)

Labels: Billy Elliot The Musical, Broadway, London, Musical, Transfer

posted by Steve On Broadway (SOB) @ Wednesday, September 06, 2006 0 comments

Billy Elliot Set To Make Imperial Leap Across Pond

Billy Elliot Set To Make Imperial Leap Across Pond

One of the West End's top tuners, Billy Elliot, will play Broadway's Imperial Theatre beginning September 17, 2008, as posters in the storied Shubert Alley have revealed.

It seems like ages ago since I last reported on the Lee Hall/Elton John musical. In fact, it was last October 20 when I noted that a casting notice was finally posted. At that time, February 2008 was the anticipated date for commencement of rehearsals.

As longtime readers may recall, Billy Elliot - The Musical ranked eighth on my list of the best shows I saw during the 2005-06 Theatrical Season. But you also may recall that I'm worried that the Broadway producers will find it necessary to tinker with this intrinsically British show.

Casting has yet to be announced, but expect that announcement to make a huge splash no matter which side of the pond you're on.

This is Steve On Broadway (SOB).

Click here for London tickets.
Related Stories:
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, Film, First Word On New Show, London, Musical

posted by Steve On Broadway (SOB) @ Tuesday, August 21, 2007 6 comments

Twittering The Tonys

Twittering The Tonys

By now, you already know that Billy Elliot - The Musical won the most Tonys during last evening's ceremony (click here to view a full list of all of this year's Tony Award winners).

Billy Elliot earned 10 Tonys in all ... or 12 if you count David Alvarez, Trent Kowalik and Kiril Kulish individually for the joint Tony they received as "Best Performance by a Leading Actor in a Musical" -- a topic I'll circle back to shortly.

The evening started out surprisingly enough as Martin Koch (Billy Elliot - The Musical) and Michael Starobin and Tom Kitt (next to normal) were both declared winners in a tie for Best Orchestrations.

But it all ended up seeming so, well, mostly predictable. While I accurately predicted 19 out of 27 categories, I was dead-on in almost every one of the major categories.

The predictabity was OK, not just because I liked most of the shows and performances that won, but also given the wonderfully witty 11:00 number offered up by host Neil Patrick Harris, which only needed a few last-minute changes from Marc Shaiman and Scott Wittman. The only things completely unpredictable were the excrutiatingly painful headbanging poor Bret Michaels endured or the embarrassing mics that seemed to not work more often than they did.

Unlike last year, when I enjoyed the Tony Awards from a great orchestra seat at Radio City Music Hall, I was in the comfort of my own living room offering up my Tony tweets via Twitter. It was a totally unique experience for me, but one that I have to admit enjoying primarily because of the banter with other theatre Twitters.

The only downside was that during the first hour of the televised awards, I hit Twitter's limit on the number of tweets any one individual can post in any given hour. Who knew? I certainly didn't! Fortunately, after being sidelined for over a half hour, I was able to get back on, although I ended up being a bit more judicious in what I posted.

Now, coming back full circle on the awards, the only winner I still can't wrap my head around is giving all three Billys the Tony for Best Performance by a Leading Actor in a Musical. Don't get me wrong, I am sure they are each very talented. Yet, how can the four other nominees who give 8 performances each week compete with three actors who perform 3 times tops per week? And to say that they are all equally worthy? Well that thinking's akin to the way they give away soccer trophies just so no one's feelings will get hurt.

Yes, I know about the bizarre Tony precedents.

In 1960, all of the young actors portraying the von Trapp family children in the original production of The Sound Of Music -- Lauri Peters, Kathy Dunn, Evanna Lien, Mary Susan Locke, Marilyn Rogers, William Snowden , and Joseph Stewart -- were nominated together in the category of Best Featured Actress in a Musical. Wonder if Snowden and Stewart ever fully recovered from that!

This year's Tony winning Best Performance by a Leading Actress Alice Ripley had to share a joint nomination for the same award with Emily Skinner for Side Show back in 1998 simply because they were portraying conjoined twins Violet and Daisy, respectively. I always thought conjoined twins had their own individual personalities.

There used to be a rule that whoever opened in the show was eligible for the Tony. Just ask Frank Dolce, who alternates with Tony nominee David Bologna as Michael in Billy Elliot - The Musical. Same show, different rules apparently apply. Maybe it was their rousing ode to individuality called "Expressing Yourself" that did them in.

I'll get off my soapbox long enough to admit how pleased I was with the rest of the results overall -- in fact, I plan to finally see both Billy Elliot and God Of Carnage on Broadway after having first seen them in London.

I was downright thrilled (sorry David Bologna) when Gregory Jbara -- one of Broadway's nicest actors -- won for his role in Billy Elliot. I got goosebumps when Angela Lansbury earned her fifth acting Tony. And I was giddy with delight that The Norman Conquests rightfully won Best Revival of a Play during prime time where it belonged (although I thought director Matthew Warchus deserved to win for that effort over his other God Of Carnage).

So, dear readers. What did you think of this year's Tony Awards? And how many of the winners did you get right?

This is Steve On Broadway (SOB).

Labels: Alice Ripley, Angela Lansbury, Billy Elliot The Musical, Broadway, David Alvarez, God Of Carnage, Gregory Jbara, Kiril Kulish, The Norman Conquests, Tony Awards, Trent Kowalik, Twitter

posted by Steve On Broadway (SOB) @ Monday, June 08, 2009 2 comments

Billy Elliot - The Musical (The SOB Revisit)

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

posted by Steve On Broadway (SOB) @ Saturday, August 15, 2009 1 comments

Time Picks Billy Elliot As Year's Best

Time Picks Billy Elliot As Year's Best

Labels: All My Sons, Best Of Lists, Billy Elliot The Musical, Black Watch, Blasted, Farragut North, Hair, Reasons To Be Pretty, South Pacific, The Little Mermaid, The Visit, Time

posted by Steve On Broadway (SOB) @ Thursday, December 11, 2008 4 comments

Billy Elliot in Triplicate on First Birthday

Billy Elliot in Triplicate on First Birthday

Thursday marks the first birthday for Billy Elliot - The Musical, the celebrated London production that's directed by Stephen Daldry, with book and lyrics by Lee Hall and music by Sir Elton John. To commemorate the anniversary, all three of the original young actors who portrayed the title character (alternating each night) -- Liam Mower, George Maguire and James Lomas -- will appear for the first time during same performance. Maguire was the exhilarating actor I had a chance to see last November, and he sang and danced and danced and danced his way into the hearts of everyone that accompanied me. This breathtaking musical is more than worth the trip to London, and with the best music to come from Sir Elton in years, I heartily recommend picking up the original cast CD regardless of whether you can make the journey.

Click here for tickets.
Related Stories:
SOB's Best of 2005-06: #8 - Billy Elliot The Musical (Victoria Palace Theatre, London, UK) (May 18, 2006)
Critics Sink Their Fangs Into Lestat (April 26, 2006)

Labels: Anniversary, Billy Elliot The Musical, Elton John, London, Musical

posted by Steve On Broadway (SOB) @ Tuesday, May 09, 2006 2 comments

Critics Sink Their Fangs Into Lestat

Critics Sink Their Fangs Into Lestat

With reports of scenes being changed right up through last weekend, perhaps it's not suprising that Broadway's Lestat provided theatre critics with an easy target for their sharpened fangs. The third, yet perhaps most anticipated, of the vampire musicals to descend on the Great White Way in the last three or so years, Lestat has received middling to poor reviews in the initial check of leading critics at such outlets as The New York Times (Ben Brantley), New York's Daily News (Howard Kissel), New York Post (Clive Barnes) and USA Today (Elysa Gardner).

Brantley suggested that Lestat might make a great alternative to Ambien; Kissel pummels everything as being "flat"; Barnes' headline ("Bloody Awful") sums up his half-star rating; and while Gardner gave the show a mediocre two-and-a-half stars, she still likened the show to syrup.

Of course, with the legions of Anne Rice fans out there, it remains to be seen whether this show will have the last laugh and live forever, or suffer the fate of vampires with a stake driven through its heart. And personally, I'm waiting to see what Rice herself has to say, especially since she was not pleased with the casting of Tom Cruise in the movie adaptation.

Hopefully, the Broadway version of Billy Elliot - The Musical -- which even the jaded Brantley seemed to enjoy -- will demonstrate just how appreciative the theatre community can be toward Sir Elton John's musical genius. I'll write more about how truly exhilarating this London production was in future postings.

This is Steve On Broadway (SOB).

Click here for Lestat tickets.
Click here for Billy Elliot - The Musical tickets.
Related Stories:
SOB's Best of 2005-06: #8 - Billy Elliot The Musical (Victoria Palace Theatre, London, UK) (May 18, 2006)
Billy Elliot in Triplicate on First Birthday (May 9, 2006)
Lestat Opens On Broadway Tonight (April 25, 2006)

Labels: Billy Elliot The Musical, Broadway, Critics' Capsule, Elton John, Lestat

posted by Steve On Broadway (SOB) @ Wednesday, April 26, 2006 0 comments

Remembrances of London’s 7/7

Remembrances of London’s 7/7

One year ago yesterday evening, I “interrupted” my exhilarating Italian vacation to fly to London for a mere 36 hours so I could see two of the year’s most fêted musicals in the West End: Billy Elliot -- The Musical and Guys And Dolls. I was particularly thrilled to see the latter, since I had purchased a second row seat to enjoy performances by Ewan McGregor and Jane Krakowski.

As much as I was loving every minute of the Italian portion of that trip -- which included stops in Milan, Florence, Pisa, Lucca, Venice and ultimately Rome -- I just knew the most memorable moments of my time away from home were waiting for me in London. Ironically, London would indeed hold the moments that would forever be seared into my consciousness unlike any other from that tour, but certainly not in the manner I had so anticipated or desired.

Shortly after waking the following morning in my spectacular hotel room overlooking the Thames -- right next to the London Eye and diagonally across from Big Ben and Parliament -- I was shocked, saddened, horrified and downright disgusted to learn that London had been rocked by a number of deadly terrorist bombings that ultimately took the lives of 37.

Originally, news accounts were sketchy at best -- not unlike those Americans observed in the first few, unsure hours after the 9/11 attacks. One year ago today, conflicting reports throughout the morning kept me pretty much glued much to my hotel television, although the constant wailing of sirens outside my window regularly brought me to my feet to see what I might witness.

Before the morning was over, my hotel concierge informed me that my afternoon matinee of Billy Elliot – The Musical had been canceled, although there was no word on Guys And Dolls just yet. Because of all the uncertainty (and paradoxically, the realization that this was likely a coordinated Al Quaeda attack), it wasn’t long before I had my answer: Guys And Dolls would not be performing that evening. In fact, for the first time since World War II, every single West End theatre would be closed -- remarkable, considering that unlike the United States, this proud city that epitomizes the famous stiff upper lip also weathered decades of continual terrorism at the hands of the IRA.

In view of the appalling loss of life that the city had just endured, the fact that I was even bothering to ask about the performances made me feel extremely guilty and selfish. Only then did it strike me that I was truly fortunate simply to be alive and that I should be counting my blessings.

Most of the rest of the day I spent walking around London -- since the terrorists had hit the Underground (or subway) and one of the famed double-decker buses, public transportation had ground to a halt. Indeed, most people in London that day were also walking, just as in New York and Washington DC in the aftermath of 9/11. It was a very surreal experience. My heart genuinely ached for the people of London (this would be the second time I would feel like an interloper on the British psyche, having been in London on the distressing day that Princess Diana was tragically killed).

Witnessing the amazing spirit of the British people first-hand was both astonishing and instructive. Despite the assault they had just endured, the Londoners with whom I came in contact demonstrated tremendous courage and heart, as well as a defiance that they would not allow the day’s events to vanquish their resolve. And while I felt like an intruder on their collective consciousness, the memories I now have of their tenacity will be the most enduring impressions I will hold from that fateful journey.

As a postscript, almost immediately upon returning home, in my own meager way of showing solidarity with the people I met in London, I booked Thanksgiving tickets to see Billy Elliot- The Musical and Guys And Dolls -- much to my pleasant surprise, I once again landed in the second row for the latter. Both were worth the wait, and I was thrilled to travel to London when overall bookings had declined in the aftermath of the attacks.

Come what may, I will continue to do whatever I can to show my undying support and love for our British cousins just as they did for us after that awful September day in 2001.

This is Steve On Broadway (SOB).

Related Stories:
SOB’s Best of 2005-06: #2 – Guys And Dolls (Piccadilly Theatre, London, UK) (May 26, 2006)
SOB's Best of 2005-06: #8 - Billy Elliot The Musical (Victoria Palace Theatre, London, UK) (May 18, 2006)

Labels: Billy Elliot The Musical, Guys And Dolls, Special Messages

posted by Steve On Broadway (SOB) @ Friday, July 07, 2006 0 comments

Billy Elliot Ready To Shine On Opening Night

Billy Elliot Ready To Shine On Opening Night

This 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

posted by Steve On Broadway (SOB) @ Thursday, November 13, 2008 0 comments

Billy Elliot - The Musical (The SOB Revisit)

Billy Elliot - The Musical (The SOB Revisit) - Capitol Theatre, Sydney, New South Wales, Australia

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

I can't really explain it,
I haven't got the words.
It's a feeling that you can't control
I suppose it's like forgetting just how good Billy Elliot - The Musical was in London,
not losing who you are within this inertia
And at the same time something like intermission makes you whole
It's like that there's a music playing in your ear
And I'm listening, and I'm listening and then I disappear from lack of energy.

And then I feel a change
Like a jetlag deep inside
Something boring me closing my eyes, impossible to hide
And suddenly I'm dozing, dozing like five bulls
Like no electricity, no electricity
Lack of sparks inside of me
And I'm free, I'm free when the curtain finally falls.

This is Steve On Broadway (SOB).

Labels: Billy Elliot The Musical, Musical, Sydney, The SOB Revisit

posted by Steve On Broadway (SOB) @ Saturday, July 26, 2008 0 comments

The Pitmen Painters (The SOB Review)

The Pitmen Painters (The SOB Review) - Samuel J. Friedman Theatre, Manhattan Theatre Club, New York City, New York

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

The slogan "All for one and one for all" may have originated with the Three Musketeers. But it could just as easily have been derived from The Pitmen Painters -- an actual team of English coal miners-cum-artists from Newcastle -- who define the word selfless as they eschew personal gain for the overarching cohesion of their group.

Playwright Lee Hall mines familiar territory he first broached through his triumph in Billy Elliot by centering on the democratization of the arts. In The Pitmen Painters, Lee once again marks a collision of working class coal miners with the revelation that art is not solely the bastion of the affluent. As in Billy Elliot, the potential empowerment and liberation offered by artistic expression is often at odds with a deeply ingrained and dogmatic Socialistic philosophy espoused among these workers.

While often riveting, humorous and particularly stimulating during the superb and far superior first act, the play becomes increasingly didactic during the more muddled second.

Set in the 1930s, The Pitmen Painters -- Oliver Kilbourne (an excellent Christopher Connell), Harry Wilson (Michael Hodgson), Young Lad (Brian Lonsdale), George Brown (Deka Walmsley) and Jimmy Floyd (David Whitaker) -- are coal miners determined to become better enlightened as a unit. They've selected art appreciation as their collective means of further enriching their lives. Together, they tap the knowledge of teacher Robert Lyon (Ian Kelly), who quickly dispenses with his birds-eye view of Renaissance art history in favor of challenging these men to put their own paint brushes to canvas.

Much to Robert's surprise and delight, his painters place enormous thought and care into their individual works, demonstrating a real knack for it. As a team, they critique each other's assignments and argue over whether art is in the eye of the beholder or the artist himself. Near the end of act one as the five men are eagerly learning more as they view renowned paintings, they together reach their epiphany that art is meant to be viewed with each other to be fully appreciated. Think "art as a democracy."

As the first act concluded, I was in complete awe of Lee's own work, Max Roberts' stunning direction and his exceptional ensemble. Even more so, I was struck by the penetrating implication that as an audience member, I was sharing this truly communal experience with a theatre full of strangers of all races, colors, creeds and lots in life as we watched The Pitmen Painters together.

Such would have been a perfect place for the show to end -- especially given the far less satisfying second act. Lee should have quit while he was ahead.

Inspired with the accumulated potential among his pupils, Robert enlists Helen Sutherland (Phillippa Wilson), a wealthy patron of the arts, to view the paintings. So impressed is Helen with Oliver's promising talent that she offers to pay him a weekly stipend to further develop his skills as a true artist. Oliver is faced with a dilemma of whether to pursue this opportunity of a lifetime or decline for the the good of the group.

I won't divulge what transpires. But allow me to say that whether intentionally or not, Lee's second act seems to imply that Socialist ideals of worker cooperation can come at the expense of artistic expression and individuality -- or does it?

Given how Lee's Billy Elliot celebrated the latter, his own conclusion in The Pitmen Painters is conflicted, if not a bit confounding. Is Lee celebrating Socialism or warning of its perils? It's far from clear.

But like works of art that challenge precepts and convention, this mostly entertaining work certainly makes one think and appreciate, regardless of socio-economic status.

This is Steve On Broadway (SOB).

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Labels: Billy Elliot The Musical, Broadway, Christopher Connell, Ian Kelly, Lee Hall, Max Roberts, Play, The Pitmen Painters, The SOB Review

posted by Steve On Broadway (SOB) @ Friday, October 01, 2010 2 comments