More on the M10 Bus

My friend Jan of Broadway and Me picked up on my thoughts about the M10 Bus.  She suggests that we as theatre lovers should be fighting to save the M10 bus route and wonders where is the Broadway League when we need them.  

Jan also points out that many of the regular riders in the post-theatre commuters are elderly: "Many of these folks were seniors and disabled people who found it easier to ride the bus."  

Besides just dealing with stairs, there is a walk to consider. 

The M10 bus provided easy accessibility with stops every two blocks or so along 8th Avenue within the theatre district at 44th, 46th, 49th, 52nd, and 55th streets.  

If one does take the subway from the theatre district, the options are limited for the upper west side corridor between Central Park West and Broadway - there's the B, C, D, A and the most undesirable 1 train due to it being the Broadway line and a fairly long walk from stops on Broadway.   These residential blocks from Central Park West to Amsterdam Avenue are dark and long. 

The B doesn't run on weekends or late nights.  The C is more often not running on weekends due to construction.  The D and A are express on weeknights and mostly on weekends.    The closest B or D train stops in the theatre district are at Rockefeller Center or 42nd Street.  The closest C or A train stops in the theatre district are at 50th and 8th Avenue or 42nd and 8th Avenue.   The train is often much slower in the later hours.

Personally, if it takes me longer than an hour to get home at night after theatre, I would have to re-think post-theatre drinks or even going at all since I still have a regular job to get to in the early morning.

I don't have the numbers for how many people this is affecting, but I would estimate hundreds on any given night. This translates into $1,000s of tickets for the New York Theatre economy, not to mention dinners and drinks purchased at theatre district restaurants.  Isn't it possible that if upper west side residents, particularly senior citizens, do not have a safe and convenient method of commuting from the theatre district after 11:00 p.m., they will simply decide not to go at all?

Would the MTA possibly consider limiting the M10 route within the theatre district to the hours immediately following curtain calls?   This seems that it would be more desirable than killing it all together.

Jan says, "You can tell the MTA how boneheaded the decision to cut the Theater District from the M10 route is by clicking here."

The Extra Man opens today!

I can't wait to see The Extra Man starring Kevin Kline, Paul Dano (Little Miss Sunshine!), Marian Seldes, Lynn Cohen , John C. Reilly and Katie Holmes!   In New York City, it's only playing at the Clearview at 1st & 62nd and the Angelika on Houston, but I'll make it one of the few I see this year.    Unfortunately, it's getting only a limited release over the next few weeks in just a few states.

In a six degrees of separation situation, Marian Seldes was one of Kevin Kline's teachers at Julliard.  Also, I've encountered Lynn Cohen a few times at one of the 8th Avenue bus stops waiting for an uptown bus - I recognized her the first time from her appearances on Law & Order, which she laughed about since most people recognize her as Magda on Sex and the City. 

ITBA Social for Patrick Lee

Friend and fellow theatre blogger Patrick Lee passed away unexpectedly in June.  He was a beloved member of the theatre community as well as a charter member of the Independent Theater Bloggers Association (ITBA).  As a board member, he spearheaded the annual ITBA Awards. 

In his memory, the ITBA has renamed the awards as the "Patrick Lee Award for Excellence in the Theater," or "Lee" for short.

Patrick enjoyed ITBA gatherings and networking with other theatre lovers.  To further honor his memory, tomorrow, July 30th from 5:30 to 7:00, the ITBA will gather to socialize and toast Patrick.  The ITBA invites any of Patrick's friends and colleagues to join in. 

The social is at Angus McIndoe's (258 West 44th Street) and is strictly a dutch treat - cash or credit bar.

For over seven years I enjoyed the after-Broadway ride uptown from the theatre district to the upper west side almost as much as the evening itself.  

The M10 bus, which traveled north on 8th Avenue from Penn Station and then continued north on Central Park West to Harlem, provided the perfect post-theatre de-briefing. 

The bus was always crowded with theatre goers,  happily clutching their Playbills and discussing what they had just seen or what they should see next.   I would see a number of actors, sometimes a producer or two and other theatre professionals.  It was a community of post-theatre commuters swapping reviews and plans for what they would see next.  I loved the aspect of seeing the familiar faces and wondering what they might have seen and did they like it.  

Last month, the MTA cut the M10 line.   It now only runs from Columbus Circle up Central Park West to Harlem.  It's more or less pointless and takes twice as long to get home after seeing a Broadway show.   If one must still take the bus, you are forced to wait for a M20 that is traveling all the way up from Battery Park City.  The M20 does stop Columbus Circle before it turns off to go to Lincoln Center, so you could transfer to the M10.  Or, you could take the M104 to 57th Street, before it turns and travels north on Broadway, and walk almost three blocks to the first M10 stop.  

I could take the subway home, but at 11:00 pm or later chances are that I'll have to wait a 1/2 hour or more for a B or C train to take me up Central Park West.   The subway just doesn't feel safe during the late hours of the night, despite a presence by the NYPD.

There's always the choice of yellow cab, but really do I need to add another $12 to my already expensive evening plus throw in the mix of car sickness?   Another financial concern to consider is that the unlimited MetroCard which I currently purchase is $89.00 a month  and the MTA is considering raising the price to $100 and limiting the use of it.   

However, my main concern is that I miss the community of the post-theatre crowd.  I can hope that the MTA will reconsider it's cut to the M10, but in the meantime I'll either cut back on late nights in the Broadway theatre district or live unhapplily with the options.

Fall 2010 Musicals in Mufti at the York Theatre

The York Theatre has announced its Fall 2010 season of Musicals in Mufti.  I'm especially looking forward to the series this season since The York, located at 59th & Lexington under St. Peter's,  is only a blocks from my current office.

Mufti means "in street clothes, without the usual trappings."  It's a staged concert and is great fun in this intimate theatre.  The shows this season will be Coco, I Remember Mama, The Roar of the Greaspaint - The Smell fo the Crowd, and I Love My Wife.

I'm especially looking forward to Coco, the musical about Coco Chanel with book and lyrics by Alan Jay Lerner and music by André Previn.   It was the only musical that Katharine Hepburn did.  It ran at the Mark Hellinger Theatre for 40 previews before it finally opened in December 1969 and ran for 329 performances.  Katharine was nominated for a Tony, but was beat by Lauren Bacall in Applause. 

Impressively, Katharine used her clout and status to make a social statement.  From Playbill:

Hepburn gave a speech from the stage of the Hellinger after a performance on May 8, 1970. She was asked by actor Keir Dullea to request a moment of silence in memory of the four students shot by the National Guard earlier that week on the campus of Kent State University in Ohio. Her speech, as read by Caldwell, said, in part:


". . . A few days ago four kids were shot and killed in Kent State College, Ohio. Now you may call them rebels or rabble-rousers or anything you name. Nevertheless they were our kids and our responsibility. Our generation is responsible and we must take time to pause and reflect and do something. You can pray, but we must think — and together — for if we don't, we are lost. The mayor joins with me and the rest of the cast in asking you to stay for a few minutes silence . . . If any of you wishes to leave you are free to do so. But if you do leave, I know you will still think about it . . ."

Ironically, the previous season Jerry Herman's musical Dear World played at the Mark Hellinger, although it only lasted for 132 performances and closed in May of 1969.  Dear World is based on the Jean Giraudoux play, The Madwoman of Chaillot.   Angela Lansbury played the leading lady, Countess Aurelia and won the Tony.  Katherine Hepburn played the Countess in the film version of the play also released in 1969. 

Perhaps Mufti will bring Dear World to life soon as well. 

Happy Birthday to Susan Graham: Fabulous and Fifty!

Happy birthday to my favorite mezzo and one of my favorite people: Susan Graham!

Win a Trip to New York to see Love, Loss and What I Wore

The Style Network and Kimpton Hotels are sponsoring a contest for a trip for two to New York City to see Love, Loss and What I Wore.   The New York production, playing off-Broadway at the Westside Theatre, is the "mothership" for two other productions that have recently opened to great success - at the Geffen in Los Angeles and the Panasonic in Toronto. 

Love, Loss and What I Wore was created by sisters Norah and Delia Ephron, based on the book by Ilene Beckerman, and features a rotating cast of five actresses under the direction of Karen Carpenter.  It's tear inducing and screamingly funning - you'll cry from the touching scenarios and performances and then you'll cry from laughing.

One dollar from every full-price ticket sold from the New York, Toronto and Los Angeles productions goes to support Dress for Success, a nonprofit organization that promotes the economic independence of disadvantaged women.

To enter the contest, click here.

Breaking News from Betty Buckley

Betty Buckley tweeted that she's recording a new cd!   I can't wait to hear what she adds to her already incomparable catalog of jazz and Broadway recordings.   Will it be tunes from her Feinstein's gig earlier this year where she covered Broadway songs that she hadn't performed live in front of an audience before?  I can hope so, but I'll take anything she gives me.  Brava, Betty Lynn!

Souvenir from Denmark!

One of the greatest perks of sharing my Adventures here is "meeting" people from around the world who also share my passion for theatre and opera.  One of these people is the very lovely and generous Robin Haslund Buch from Denmark.  He is also great fan of Angela Lansbury and has shared some very cool Danish movie bills from a few of Angela's movies.  


Robin also loves the theatre and is a very talented costume designer and actor (he will be in an upcoming production of Lend Me a Tenor in 2011!).  In 2009, he costume designed and translated for the Danish production of Stephen Temperly's hysterical but poignant play Souvenir  about Florence Foster Jenkins at the Vendyssel Theatre.  

Even though it not nominated for an  award, the production was honored with a performance at the Reumert uddelingen - the "Danish Tony Awards" - at the Royal Theatre Copenhagen on May 9, 2010.  In attendance were members of the Danish Royal family, including HRH Prince Joachim of Demark and his wife Princess Marie.

Today, I received the wonderful surprise of a cd of the production recording from Robin.  What a treat!  The Danish production stars Lise-Lotte Nielsen, who this year celebrates 25 years with the Royal Danish Opera.   Henrik Koefoed is  Cosmé.   Some of Robin's beautiful costumes are pictured below on the cd's liner notes.

The production will be on tour in Denmark this fall, including a stop at the Royal Danish Opera in October. It will play there for only one night - maybe symbolically like Florence's only performance at Carnegie Hall on October 25, 1944.

I saw Judy Kaye's extraordinary performance in Souvenir at the Lyceum on Broadway in 2005.  Judy was nominated for a Drama Desk and Tony Award, and since then, she has toured the production.   Donald Corren, starred as Cosmé McMoon, her accompanist and narrator on Broadway.    It remains one of my favorite theatrical experiences.  I only wish I could make it to Denmark this fall in order to see Robin's production.

Endorsement for Stella Is a Star

My nieces Cara and Camilla received their copies of Bernadette Peters' second children's book Stella is a Star and they are raving about it.

The book, like Bernadette's first effort, Broadway Barks , comes with an audio cd of Bernadette reading the book and performing a companion song that she composed herself.  On the first day alone, the girls listened to it at least eight times!

Cara loves her copy of Broadway Barks in which Kramer is the star, but is even more partial to this new book mostly because this time it's about a girl dog who wants to be a ballerina.    However, it didn't take long for Cara to catch a glimpse of Kramer, who makes a cameo appearance!

Bernadette's proceeds from each of the books goes to Broadway Barks, the charitable organization that was founded over eleven years ago by Bernadette and Mary Tyler Moore to raise money for no-kill animal shelters and awareness for pet adoption.    For more information about the organization Broadway Barks, go to www.broadwaybarks.com.

Mame as Wall Decor

I bought this poster of Mame some years ago at Triton Gallery and Angela Lansbury signed it for me when she was starring in Deuce on Broadway.   I was just watching the Van Buren Boys episode of Seinfeld and lo and behold, there's the Mame poster!   But, their's isn't signed!   

A Little Night Music - First Preview Redux

I was feeling quite differently after the final bows of last night's "first preview" of A Little Night Music than I did after the first first preview I attended on November 24, 2009.    It's a practically a night and day difference. 

The two principals - Angela Lansbury as Madame Armfeldt and Catherine Zeta-Jones as her daughter Desiré Armfeldt - played their final performance on June 20, 2010.  The show went on hiatus for a few weeks to give the new actresses  - Elaine Stritch as Madame and Bernadette Peters as Desiré - a chance to learn the roles. 

Last night was every bit as ebullient as that final performance, however  the new stars couldn't be more different than their predecessors.  

First of all, Bernadette Peters' performance is magnificent. She may be the definitive Desiré and is certainly delivering a definitive "Send in the Clowns."   Every moment of her thrilling performance is humorous, thoughtful, nuanced and subtle.   Here is an actress whose interpretation comes across crystal clear.  
 
Elaine was fine too.  She played "Elaine Stritch" as I've see her on tv or in her cabaret, but I wasn't disappointed because that's interesting too. She did go up on a line or two, but it felt as the entire audience was rooting for her.  In "Liaisons," her delivery made me think "Oh, it's Joanne Armfeldt," but it works.  She's more beer hall and low brow broad than champagne and elegant lady, but she's proud and giving.   Her Madame is also charming and very funny.  I loved her interpretation as a loving, doting grandmother.   She took time to smile and be patient with her granddaughter Fredrika Armfeldt, played last night by Katherine McNamera, and seemed genuinely adoring.    She definitely had a strong finish.

At every entrance and after every number, the very full house showed its appreciation.   Both Bernadette's and Elaine's entrance nearly stopped the show.   The supporting cast was every bit as good as they were with the previous stars and I continue to love Alexander Hanson, Hunter Ryan Herlicka, Aaron Lazar and Erin Davie.   This quartet manages perfect delivery for huge laughs. 

The curtain call was loud and long, with lots of call backs and press photographers were there to take pictures - as usual, Walter McBride's are my favorite.  

It was a very special night on Broadway.   Mr. Sondheim, Maestro James Levine, Holland Taylor, Liz Smith, various Broadway types, and many of my friends, whom I met because of Bernadette, were in attendance and were seated throughout all three tiers.  

It felt almost like that special day back on May 30, 2004 when we met because it was Bernadette's final performance in "Gypsy."  That time was to celebrate the ending of run and while triumphant, it was sad; this time was to celebrate what will undoubtedly be a run for the ages.   This performance by Bernadette, or her one of kind co-star Elaine, is not to be missed.

Tonight: A Little Night Music with Bernadette Peters and Elaine Stritch

Norma at Caramoor

Overnight text message from Noah:  "Do you now agree that Norma is the reason for opera?"

YES!  MY HEART IS STILL POUNDING!

Or apparently it is when the right singers are cast.  And Angela Meade and Keri Alkema are definitely the right singers to play "Norma" and "Adalgisa," respectively.

Sally and I took the "caravan" bus from Grand Central Station to Caramoor, in Katonah, New York.  It took only a little over an hour through the Bronx on the Major Deegan and up Hwy 87. 

The Caramoor grounds are so pretty (not as fancy as Ravinia, but far superior to Tanglewood).  Many people brought their own picnics, but there were also delicious, fairly inexpensive sandwiches and salads available for purchase.

We arrived just a little too late to enjoy the "Bel Canto a Due," a recital by the Caramoor Bel Canto Young Artists and Apprentices, but we certainly could hear them.   As Sally and I wandered around the grounds, we could also hear the sopranos warming up backstage at the Venetian Theatre.

At 7:00 p.m., we attended Andrew Porter's introductory lecture about Norma.  He was a British music critic and delivered a humorous history of the piece and the various sopranos who have sung the role.  He even saw Maria Callas in the role several times over the years.

Finally, at 8:00 pm, we shuffled into the Venetian Theatre, under a large tent.  The rake is fine in the makeshift theatre, but if you are counting on sur-titles, try to sit as center as possible as the tent poles blocked our view of the screen in at least a foot of the text.  I was fine to just listen, but this undoubtedly bothered at least one patron who gestated wildly in his seat right in front of me for the entire evening.

But the music made up for any irritation from the audience.   Under the baton of Will Crutchfield, who is a bel canto specialist, the St. Lukes Orchestra was fabulous.  We saw them arriving via a bus like ours, not realizing that's who they were.   They looked rather ragtag, but that had nothing to do with their musical ability.

Emmanuel di Villarosa, the tenor, played "Pollione."  He was okay but had a few pitch - it sounded like he wasn't quite warmed up.  When he hit though, he hit and it was fantastic.   Bass-baritone Daniel Mobbs played "Oroveso" and I thought he was great.   Rounding out the cast nicely were Sharin Apostolou as "Clotilde" and Brian Landry as "Flavio."  The Caramoor Festival Chorus was also on hand.

It was going along nicely and then Angela Meade entered.  She wore a black strapless gown, layered in ruffles with just a hint of sparkle on the fabric.  She has slimmed down and the dress was very flattering.  She was wearing some major bling too and looked ultra glam.   The minute she started singing, I thought the temperature dropped.  It turned out that I was merely covered in goosebumps and my spine was tingling.   She has amazing power with a gorgeous full sound, but then floats the most unbelievably light pianissimo it's like tiny butterflies fluttering.   After every aria, the audience was screaming and applauding and stomping feet. 

We went for Angela Meade, but the bonus of the evening was Keri Alkema.   Keri wore a blue strapless gown with a sheer shawl. She was also wearing her share of bling.  She's got a beautiful full mezzo with quite a range.   When she and Angela sang together, I thought I would just pass out and admittedly I did cry.  I couldn't help myself!

It's a long, relentless opera for the singers and every moment was thrilling - just when I thought it was over, they would keep singing with soaring vocal fireworks.  Angela was powerful from the get go and only became stronger.   When we were leaving, I told Sally that just like Andrew Porter talking about Callas, we'd be talking about the first time we saw Angela Meade.

We saw a few notables in attendance including Matthew Epstein and a critic from the Post, as well as some faces I recognized from the Upper West Side and/or the Met Opera (alas, no Lois!).      Sally saw Michael Fabiano (one of Angela's competitors and co-winners from the 2007 Met National Council Audition) and my friend Michael Stinchcomb, who would of course be there because he, like me, see as much of the best as possible.

It was a late night, but I'd do it again in a heartbeat for a chance to see Angela Meade and Keri Alkema sing live again.  Angela is scheduled to cover Renée Fleming in Armida next season at the Met and I found myself thinking deviously that maybe La Diva will move over and hand it over to Angela.  If only.  In future seasons, Keri will be at New York City Opera and Washington National Opera and I will do my best not to miss her.  

Quote of the Day

"My God, I've got to go to bed."

Angela Meade about getting through Bellini's Norma, from Angela Meade's guide to 'Norma', in Capital New York by Zachary Wolfe, July 7, 2010

Sally and I are taking the "caravan" to see Angela in Norma at   Caramoor  this evening.  I saw Norma at the Met once, but it wasn't the blow out I was expecting.   Supposedly, Norma is the opera most fans drool over and the role is the stuff that makes legends.  Sally says that if anybody is going to make me love Norma, it will be Angela Meade.  If you saw The Audition, then you know we are at least in for a treat just to get to hear Angela sing live.



Photo by Dario Acosta.

Broadway Barks 12!

Broadway Barks is tomorrow!

It's the twelfth annual dog and cat adopt-a-thon, founded by Bernadette Peters and Mary Tyler Moore, in Shubert Alley from 3:30 to 6:30 p.m.   The event also raises money to support no-kill animal shelters.

To mark the event and raise awareness for animal adoption, the Empire State Building is lit purple, pink and yellow from June 10-12th.

Beginning at 3:30, New York area animal shelters will be on hand with plenty of pets for adoption or information on how you can adopt a cat or dog.

From 5:30 to 6:30, Bernadette and Mary will host an adoptable dog and cat show in which a number of pets for adoption will presented by Broadway stars including Brooke Adams, Kevin Chamberlin, Katie Finneran, Montego Glover, Tony Goldwyn, Ruthie Henshall, Hunter Ryan Herdlicka, Beth Leavel, Judy McLane, Michael Mastro, Jan Maxwell, Tony Shalhoub, Richard Thomas, and Ace Young, George Akram, Fred Applegate, Brooks Ashmankas, Corbin Bleu, Kristin Chenoweth, Veanne Cox, Erin Davie, Robin De Jesús, John Dossett, Gina Ferrell, Kelsey Grammer, Alexander Hanson, Sean Hayes, Jackie Hoffman, Karl Kenzler, Chad Kimball, Leigh Ann Larkin, Karen Olivo, Loretta Ables Sayre and Josefina Scaglione, among others.

At 7:15 p.m., Bernadette will sign copies of her latest book, “Stella is a Star!” in the lobby of the Schoenfeld Theatre.  Bernadette's previous book, Broadway Barks , is a New York Times best seller.  Each of the books feature cd's of Bernadette reading the stories and singing the songs she composed herself.   Both books are also about her own adopted dogs, Stella and Kramer.   Bernadette donates all of her proceeds from sales of the books to Broadway Barks. 

Photos from Broadway Barks on Facebook

Art comes to life

My friend Dee took her three children to the Art Institute of Chicago for the first time yesterday. They saw Georges Seurat's A Sunday on La Grande Jatte. I have been fortunate to see it twice. I'm reminded of the times I saw it in person both times with dear friends. It is an awesome experience - the size of it, the colors of it, the serenity of it are inspiring. Seeing it come alive with Stephen Sondheim and James Lapine's Sunday in the Park with George is like a kaleidoscope of sound and sight.
I would love for Dee's children to experience Sunday live, but fortunately, the Pulitzer winning show was filmed and is available on dvd.

Quote of the Day

"She's salty," another source says, "but she's behaving." Beat. "So far."

Regarding how it's going with Elaine Stritch, who's replacing Angela Lansbury in  A Little Night Music.

To Michael Rieldel, New York Post, July 7, 2010

A Broadway Day

Today, my dear friend Byrne of StageBuzz treated me to a Broadway Day and we didn't even see a show.   First he took me to a great lunch at Joe Allen's on 46th Street.  It's been an affordable Broadway hang out since 1965 (even Angus McIndoe worked there before starting his own place).  It's an easy atmosphere and the food is good and inexpensive.  Today was a perfect day to be there - not crowded and the air conditioning was blasting. 

My favorite part is the decor - the walls are covered with window cards of flop plays and musical.   Check out their "Flop Viewer" for the gems. I don't think I have to tell you which one is my favorite.

After our lingering lunch (and attempt to steal a window card or two), we ambled down to The Drama Book Shop on 40th Street.   I spent my birthday gift certificate (thanks Sally!) on Tina Howe's Coastal Disturbances and Painting Churches and David Hirson's La Bête.   

It was a cool way to spend a very hot afternoon.

Christine Ebersole Sings Noel Coward - the CD is finally available!

In March 2009, we heard that Christine Ebersole would release a cd of songs by Noel Coward. If you saw last season's Broadway revival of Blithe Spirit, you know that the scene changes were greatly enhanced with recordings of Christine singing some Coward tunes.

Finally, Christine has announced that an album inspired by Coward is available via her website.  Payment is accepted through Paypal for $15 with a shipping charge of $5.40. 

Track Listing

1. SOMEDAY I'LL FIND YOU
2. ANY LITTLE FISH/IT'S ONLY YOU
3. YOU WERE THERE
4. A ROOM WITH A VIEW
5. CHASE ME CHARLIE
6. MATELOT/COME THE WILD, WILD WEATHER
7. I'LL FOLLOW MY SECRET HEART
8. WORLD WEARY
9. IF LOVE WERE ALL
10. MAD ABOUT THE BOY
11. NEVER AGAIN/SAIL AWAY
12. THE DREAM IS OVER
13. WHEN MY SHIP COMES HOME
14. I'LL SEE YOU AGAIN

The Pirates of Penzance - a new dvd

The Pirates of Penzance is being re-released on dvd on September 14th.  It's available for pre-order on Amazon. Kevin Kline, Angela Lansbury, Linda Ronstadt, and George Rose star.

This production stemmed from The Public Theatre's Shakespeare in the Park.  Patricia Routledge played "Ruth" - fortunately it was filmed.

It transferred to Broadway in 1980, but Estelle Parsons played "Ruth" (Kaye Ballard replaced her!).   It ran at the Uris then moved to the Minskoff for 787 performances.

Much of the same cast did the film in 1983, except this time Angela played "Ruth."   Its been said that Johnny Depp's "Captain Jack Sparrow" was inspired by Angela's "Ruth."

Send in the Billboard

Promises, Promises - the new Broadway cast recording

 The new Broadway cast of Promises, Promises has recorded an album with Sony Masterworks Broadway.  Based on the film The Apartment, it's set in late 60s and is about Chuck Baxter who lets his boss Sheldrake use his apartment for liaisons with a mistress Fran Kubelik.

Sean Hayes is Chuck Baxter, Kristin Chenoweth is Fran Kubelik,Tony Goldwyn is J.D. Sheldrake, 2010 Tony Award winner Katie Finneran is Marge MacDougall and Tony Award winner Dick Latessa as Dr. Dreyfuss. The large cast also consists of 27 actors including Brooks Ashmanskas as Mr. Dobitch, Peter Benson as Mr. Kirkeby, Seán Martin Hingston as Mr. Eichelberger and Ken Land as Jesse Vanderhof.

The movie was musicalized by pop composer Burt  Bacharach  with lyrics by Hal David, with a book by Neil Simon.  Both the original production (with Jerry Orbach and Jill O'Hara) and London production (with Betty Buckley and Tony Roberts) were recorded and many of the songs were top 40 hit singles for Dionne Warwick.

I really enjoyed Sean Hayes as the host of 2010 Tony Awards, along with Kristen Chenoweth's appearance as his sidekick.  Even though I haven't seen the production itself, when Sony Masterworks Broadway offered to send me the recording I happily responded since I loved what I heard at the Tonys, plus I'm a fan of the original and London cast albums as well as some of the Warwick recordings. 

The recording is fantastic.  Thankfully, the original orchestrations by Jonathan Tunick are in place.   The vocals from Sean Hayes and Kristen Chenoweth are lovely, particularly on "A House is Not a Home" (although this is not from the original score) and "I'll Never Fall in Love Again."   Their voices blend together very nicely.   Chenoweth, an operatically trained soprano, is more known for some vocal pyrotechnics but here she's crooning.  I found Sean Hayes' voice surprisingly sweet and affective. 

 With the exception of "I Say A Little Prayer," which was a big Bacharach and David hit for Warwick, this revival is the same as the original.   I'm not sure the inclusion of "Prayer" adds anything to the show or if it just gives an extra song to Chenoweth.   The biggest difference is the sound of "Turkey Lurkey Time".  The original "Turkey Lurkey Time" sounds shrill and I find myself only wanting to see the iconic youtube clip with Donna McKechnie dancing as if there's no tomorrow.    On this recording, the song itself is quite listenable.

 

The 33 page liner notes include all of the lyrics and great production shots.   It's a great souvenir of the show or at least for me, an fabulous addition to the other recordings I already own.

Every Little Step - a documentary

I just watched Every Little Step.  It's a documentary released in 2009 that blends the history of the original A Chorus Line and the audition process of the 2006 Revival.

Over 3,000 dancers auditioned for the revival - both members of Actors' Equity and non-professional dancers in an open call. The film is an intimate look at the auditions and feels like being a fly on the wall during the rehearsals and in the discussions between the director Bob Avian, the original co-choreographer, and choreographer Bayoork Lee, the original "Connie."  It also includes interviews with the dancers and the creative team.

Beside is being inspirational and fascinating, it's amazing to see how hard these people work at their craft.   I also loved seeing the many familiar faces of actors whom I had seen in other productions, namely Natascia Diaz (even though she wasn't cast as "Cassie"). 

I knew the outcome of the auditions because I saw the revival, but I still found myself routing for various actors.  It was at once thrilling and heartbreaking to see them going through the process. 

The original "Cassie," Donna McKechnie, for whom Michael Bennett initially built A Chorus Line around, is also extensively interviewed.  There is also an extra conversation with her in the bonus materials.   Donna is one of the most amazing dancers to ever have graced the stage.   There is a lot of footage of her dancing "Music and the Mirror" in the original production.   Fortunately, there are plenty of youtube clips of her breathtaking work.    I have seen her do a little dancing in various Broadway concerts and every second was thrilling even all of these years later - in 2007, we saw her do an abbreviated version of "Music and the Mirror" and she had me on the edge of my seat. 

Every Little Step is a thrilling documentary and a must see for anybody even remotely interested in Broadway or dancing. 

Hunter Ryan Herdlicka at Feinstein's

What a year it has been for Hunter Ryan Herlicka.   Just a little over a year after graduating from Carnegie Mellon University, Hunter made his New York cabaret debut at Feinstein's at the Regency on Sunday evening.   This is on top of a Broadway debut as "Henrick" in A Little Night Music.

It's a rare thing to live your dreams and even rarer to live them well at such a young age - something Hunter is having no problem doing at all.  

Hunter presented a beautiful cabaret set, under the seamless direction of Diana Basmajian and music direction/accompaniment by the immensely talented Mary Mitchell-Campbell, at Feinstein's at the Regency last Sunday night.   The set was tender with the right mix of sentimentality and humor.  Hunter has great comic timing and doesn't shy away from sharing his emotional side.

The room was filled with fans, friends and family.  He took time to point out some celebrities in attendance - something he never grows jaded about - Phyllis Newman, Eileen Fulton, Bruce Vilanch and his co-star and dressing roommate Aaron Lazar (all pictured below).  Hunter acknowledged his family - pointing out his grandparents and his parents who have supported his dream and his self diagnosed "Broadway addiction".   He imparted stories of their encouragement of his love for theatre by bringing him to New York at a young age, and a hilarious recounting of of his mother even coaching him on Barbra Streisand's version of "With One Look" for a community theatre role.  


He opened with "I happen to like New York," which was cleverly mixed with "Another Hundred People".   While he never held back on his obvious love for Stephen Sondheim, he included songs from a couple of other composers, namely Cy Coleman because Peter Pan was the first musical he loved.  As a child, he watched an old vhs of Mary Martin's television version of Peter Pan.  He learned those songs early on and never forgot them.   In a lovely anology, he gave us New York City as  his "Never Never Land" - a place where dreams live and you never grow up.

Hunter was the first actor to be cast in the current, first ever, revival of A Little Night Music.  It's not lost on him that not only is he in a show by his favorite composer, he played next to a legend and a huge star since November and on July 13th, he gets to take the stage with more legends, particularly Bernadette Peters.   He's still in a little shock over this.  (He and I first met at Bernadette's party after her concert last November and we could not have imagined this.)    This was the perfect moment to present "The Glamorous Life," from the movie of "A Little Night Music."

Other songs included "Distant Melody," "I Won't Grow Up," "Giants in the Sky," "I Believe in You," "Use What You Got," "It Only Takes a Moment," "I've Got a Crush on You," "What Can You Lose"/"Live Alone and Like It", "Penny in my Pocket."  His encore was "No One Is Alone."

This was one of the most enjoyable evenings I've had at Feinstein's.  It's exciting to see a friend performing, but when they blow you away it's a whole other matter.  I've enjoyed his performance in A Little Night Music, but that's a limited character.  Here Hunter shared his sweet and funny personality as well as a glimpse of his dreams and his gratitude.  He has the panache and poise of an old pro of the cabaret stage.

I found myself without a kleenex, something I won't forget to have on hand the next time I see him perform on a cabaret stage, which I hope happens again very soon. 

Photos by Rich Aronstein, via Judy Katz Public Relations: