The Tempest Ladies

Last night, I attended a dress rehearsal/blogger preview of an extraordinary and passionate new production of The Tempest by the theatre company The Tempest Ladies .

The company is comprised of 6 classically trained actresses: Stella Berg, Laura Borgwardt, Julia Giolzetti, Holly Hart, Laura Bess Jernigan, and Jana Stambaugh.   Each share the roles, the producing, the direction, the set design, the property management, the press, etc.  They told us that it is a completely democractic group - they try out all of each others ideas.    They are developing their productions on an educational aspect, and hope to tour their show to schools around the city.  

Shakespeare's The Tempest is my favorite Shakepeare.  I first saw it when I was in junior high and I've never forgotten the production.   I disclosed this to several of the actresses before seeing this run through and they joked back, "No pressure."    After seeing what they have done, I'm even more certain that The Tempest remains my favorite. 

They have lovingly, cleverly and beautifully crafted a production around the text with a creative bent.  Each actress is sharing almost all of the roles.  
Even in a rehearsal room at the Network Studios, the piece was magical and I was completely transported.  

The official production is on June 2nd at the Players Theatre Loft on The Players Loft at 115 MacDougal Street.   They will mount two performances at 7:00 pm and 9:00 pm.  After their 9:00 pm performance, The Tempest Ladies invite the audience to join them for a celebration and reception.   Tickets are only $10 each and are available via Brown Paper Tickets.

Happy Mame Day!

Forty-five years ago today, Jerry Herman's MAME opened on Broadway at the Winter Garden Theatre.  It starred Angela Lansbury as Auntie Mame, Bea Arthur as Vera Charles and Jane Connell as Agnes Gooch.   It moved to the Broadway Theatre on October 6, 1969.   It ran a total of 1,508 performances.  Angela took Mame on the road.  Her Broadway replacements included  Ann Miller, Jane Morgan, Janis Paige, and Sheila Smith.  It ran successfully in the West End of London with Ginger Rogers as Mame. 

MAME won the 1966 Tony Award Best for Musical for its book by Jerrome Lawrence and music and lyrics by Jerry Herman.   Jerry Herman won the Tony Award for Best Composer and Lyricist.  Angela Lansbury won the Tony for Best Actress in a Musical, her first of five.  Frankie Michaels, who played young Patrick, won the Tony for Best Featured Actor in a Musical, setting a record for being the youngest person ever to win a Tony at the age of ten.  Bea Arthur won the Tony for Best Features Actress in a Musical.  The show was also nominated for Best Scenic Design (William and Jean Eckart), Best Choreography (Onna White), and Best Direction (Gene Saks).  Jerry Lanning, who played older Patrick, won a 1966 Theatre World Award.

Mame is the musical version of Auntie Mame, based on the novels by Patrick Dennis and the play by Jerome Lawrence and Robert E. Lee.   The story is about a glamorous, live-loving, madcap single aunt who inherits her young orphaned nephew Patrick.  It's a joyous and life-affirming story, and I myself try my best to emulate Mame's philosophy:  "Life is a banquet and most poor sons-of-bitches are starving to death."

MAME has only been revived on Broadway once:  in 1983, by Angela Lansbury herself.   While Angela's performance was critically acclaimed, the production was not and ran only for one summer season.    In May, 2006, a limited run of MAME was produced at the Kennedy Center starring Christine Baranski and Harriett Harris.  It was fabulous, but not quite enough so to get it moved to New York.   Last year, Jerry Herman himself stirred up talk that a revival might be in the works in an interview with Broadway World.   Since the brilliant revival of Jerry Herman's LA CAGE AUX FOLLES only recently closed and there is still word on the street that a revival of his HELLO DOLLY! is in the works, one can continue hoping that a full-fledged Jerry Herman Renaissance is in the cards and we will sooner than later get a revival of MAME on Broadway.   Donna Murphy for MAME, anyone?  

Love on Broadway: Dame Harriet Walter and Guy Paul

We're not the only ones who fell in love with Dame Harriet Walter when she played "Queen Elizabeth" in Mary Stuart on Broadway in 2009.   American actor and fellow cast mate Guy Paul literally fell in love with her - and she with him - and they married on Saturday in Minneapolis according to The Telegraph.   Congrats Dame Harriet and Guy! 

Bernadette talks Follies on NPR

Betty Buckley's Piano!

I opened my June issue of Texas Monthly and there was Betty Buckley's piano!   Betty says, "I bought this piano maybe thirty years ago.  I don't play but I compose, so when I bought this I had a pianist go with me to a lot of different places to la all of the pianos for me.  It has a beautiful sound."  I'd love to hear these compositions - maybe on a future album?  Her upcoming album Ghostlight, produced by her childhood friend T-Bone Perkins, will be released this fall.    Go read the article here.

Almost as good as a keytar

ButtonBeats.com

Third Annual Patrick Lee Theater Blogger Awards

The Independent Theater Bloggers Association (the “ITBA”) is proud to announce the 2011 recipients of the Third Annual Patrick Lee Theater Blogger Awards. Patrick Lee was one of the ITBA's founding members. Patrick passed away suddenly last June, and was an erudite, passionate, and tireless advocate for theater in all its forms. Patrick was also the ITBA's first awards director, and was a regular contributor to Theatermania and TDF Stages.

The 2010-2011 Patrick Lee Theater Blogger Award Winners:

OUTSTANDING NEW BROADWAY MUSICAL

Bloody Bloody Andrew Jackson

OUTSTANDING NEW BROADWAY PLAY

Jerusalem

OUTSTANDING BROADWAY MUSICAL REVIVAL
Anything Goes

OUTSTANDING BROADWAY PLAY REVIVAL
The Normal Heart

OUTSTANDING NEW OFF-BROADWAY PLAY
The Elaborate Entrance of Chad Deity

OUTSTANDING NEW OFF-BROADWAY MUSICAL
The Kid

OUTSTANDING OFF-BROADWAY REVIVAL (PLAY OR MUSICAL)
Angels in America, Part 1: Millennium Approaches

OUTSTANDING SOLO SHOW/PERFORMANCE (ALL VENUE CATEGORIES)
Michael Shannon, Mistakes Were Made

CITATIONS FOR OUTSTANDING OFF-OFF BROADWAY SHOW
Feeder: A Love Story
Invasion!
The Caucasian Chalk Circle
Belarus Free Theater's Discover Love
Black Watch
ReWrite

UNIQUE OFF-OFF BROADWAY EXPERIENCE
Sleep No More

OUTSTANDING ENSEMBLE PERFORMANCE
The Scottsboro Boys

CITATIONS FOR EXCELLENCE BY INDIVIDUAL PERFORMERS
Nina Arianda, Born Yesterday
Laura Benanti, Women on the Verge of a Nervous Breakdown
Reed Birney, A Small Fire
Christian Borle, Peter and the Starcatcher
Norbert Leo Butz, Catch Me If You Can
Bobby Cannavale, The Motherfucker with the Hat
Colman Domingo, The Scottsboro Boys
Sutton Foster, Anything Goes
Josh Gad, The Book of Mormon
Hamish Linklater, School for Lies
Joe Mantello, The Normal Heart
Arian Moayed, Bengal Tiger at the Baghdad Zoo
Lily Rabe, The Merchant of Venice
Mark Rylance, Jerusalem
Michael Shannon, Mistakes Were Made
Benjamin Walker, Bloody Bloody Andrew Jackson

CITATION FOR EXCELLENCE IN OFF-OFF BROADWAY THEATRE
La Mama

The list of the 2011 recipients of The Patrick is read by Susan Blackwell, Heidi Blickenstaff, Jeff Bowen and Hunter Bell, the cast and creators of the acclaimed [title of show] and who are currently collaborating on Now. Here. This., a Developmental Lab Production at the Vineyard Theatre.


The video of their reading was filmed by ITBA member Jesse North of www.stage-rush.com.

The ITBA is comprised of bloggers who regularly see live performances in all its forms in New York City and beyond. Members are in New York, Boston, Chicago, Minneapolis, and London. For further information and a list of our members, our website is www.theaterbloggers.com . If you are interested in learning more about the ITBA, email info@theaterbloggers.com . To invite the members of the ITBA to your show or event, please send an email to invite@theaterbloggers.com.

Le Diabolique Barbier: Sweeney Todd at the Chatelet du Paris

My recent trip to Paris with Karigee came together for the sole purpose of seeing Sweeney Todd at the Chatelet du Paris.  If you know me at all,  you know I LOVE this Stephen Sondheim musical.  

I purchased our tickets many months ago, afraid that I had the date wrong or the section wrong or the show wrong, and I remained afraid until I actually had tickets in hand and could smell the sweet scent of their ink at 20 minutes to curtain time.  

My anticipation and excitement was already boiling over when we entered the theatre.  We were surprised and thrilled to discover that our row D seats were on the center first row!  I peered into the orchestra pit and immediately realized the thrill of what it would sound like at the mere site of the huge orchestra.  To hear this score with a 28 piece orchestra playing Jonathan Tunics original orchestration would be a dream realized.  

The cast was mostly unknown to me.   I did know Rod Gilfrey who was to be Sweeney from various opera, but he shared the role with Franco Pompani.  Our Sweeney for the evening was Franco, which wasn't in the least bit disappointing when we heard the beauty and power of his baritone.  He was handsome but menacing and brooding.  He acted the role fine too.

More importantly, at least to me, was Mrs. Lovett, played by Australian actress   Caroline O'Connor.    To my eyes and ears, she was magnificent.  Comically and dramatically, she was brilliant at the role, as if she was born to play it.    I loved her voice, which was beautiful and belty at times, but often had that smokey, world-weary quality that is so appealing.    She was hilarious when it was called for and heartbreaking at other times.   Sondheim attended opening night and declared to Le Monde that Caroline  is "the best Mrs. Lovet he has ever heard."  I won't go that far, but she definitely an equal and found many fascinating moments for the character.   I am on a mission to discover more of her work (and she'll be singing Mama Rose in Leicester, England in March, 2012 - perhaps it will transfer to West End?  How long since West End has had a production?)  

The rest of the cast - Joanna - Rebecca Bottone; Anthony Hope - Nicholas Garrett; Judge Turpin - Jonathan Best; Beadle Bamford - John Graham-Hall; Beggarwoman - Rebecca de Pont Davies; Pirelli - David Curry; Toby - Pascal Charbonneau - was magnificent as well.  It was clear that this production was cast vocally rather than actorly and combined with the orchestra and the theatre, it could not have been more perfect.  Particularly wonderful was Pascal Charbonneau as Toby, who was easy on the eyes but especially so on the ears.   His "Nothing's Going to Harm You" coupled with Caroline O'Connor's portrayal was simply heartbreaking.  I also loved the Beggarwoman played by Mezzosprano Rebecca de Pont Davies - she had a very rich, deep mezzo and brought even more sadness to the role (and hello, she sang Klytemnestra (opposite Susan Bullock) in Elektra at Opera North!). 

This production was by Lee Blakeley, who directed last season's A Little Night Music at Chatelet (which Kari saw in February 2010). Music direction was by David Charles Abell. Appropriate costumes were by Tanya McCallin and choreography by Lorena Randi. Mrs. Lovett fashioned sort of mess of red hair, but nothing specifically distinct. The set was hidden by a curtain that was a replica of a 19th century map of London. After intermission, the drawing of the Thames on the map was solid red.


The production was in English with French super titles, on a screen above the stage and on the sides.  I found myself glancing at them occasionally and it seemed like sometimes it was a literal translation but more of a description of what was happening, particularly when it came to Mrs. Lovett's lines and lyrics.   The set was huge and very industrial-looking and employed the back of the stage wall and even the wings.   There were always chorus members on stage.   When the killing began, there was a stream of blood pouring into a gutter right on stage.  It was also a very bloody production - I feel sure that if the orchestra pit had not been in front of us, we would have surely been drenched a time or two.   This was also the largest production I've seen thus far, and while each were sublime in their own right; this was the most thrilling to my visual and auditory senses.   It was like being completely enveloped in the rousing music and I felt very alive even while swooning from excitement.   

The curtain call was like being at a final performance of a Broadway show or even at the opera - it went on endlessly.  My arms and hands were worn out from all of the applauding.   The audience was very, very enthusiastic and never wanted to let them go.  Even the orchestra members stepped to the front of the pit to turn and watch the actors.   The curtain closed on them at least four times and each time opened to an even louder roar.   Finally, the French began the rhythmic clapping - it is beyond exciting - and I thought they might have to do an encore or something to appease the raucous and demanding audience (and me!).  

I remarked to Kari as we were leaving, even though I've seen Sweeney Todd a total of 25 times live now, not including the times I've watched the Angela Lansbury/George Hearn, the Patti LuPone/George Hearn  and the Johnny Depp/Helena Bonham Carter films, it always surprises and thrills.    It's a good thing I was not living in Paris or I'd be there every performance.  

 

Deborah Voigt with the Collegiate Chorale at Carnegie Hall

It was a grand night for singing at Carnegie Hall tonight.  The Opera Diva Deborah Voigt left her spear and shield back at the Metropolitan Opera and got her Broadway on tonight with the Collegiate Chorale in an all Broadway program directed by Ted Sperling.   Tony winner and opera singer Paulo Szot joined in as well. 

Beautifully attired in a blue jack and full floral skirt accented with gold, black and blue, the Diva revisited her roots and the repertoire of her high school years with Broadway tunes.   She noted that "it was good to be among the mortals"it was good to be on a stage that wasn't moving - a tongue in cheek nod to "the machine" at the Met Opera where's she fabulously sang Brunnhilde in Wagner's Die Walkure.  I had a hard time wrapping my mind around the fact that I just saw her on Saturday at the Met in this role - one of the great opera sopranos of our time is stepping out to sing a little Broadway.  And sing she did along with a full orchestra and the 180 voices of the Collegiate Chorale.   

As a follower of Deborah's on Twitter  and seeing her has hostess of the HD broadcasts from the Met Opera, I've come to believe that she is charming, witty and warm as well as sublimely talented.  I have seen her in a number of roles at the Met as well as performances in the annual Tucker Gala concert and recital at Carnegie Hall.   Tonight's program was a chance to see a whole different side.   In fact, Deborah began her singing career in high school musicals and will even take on the role of Annie Oakley in Annie Get Your Gun at Glimmerglass this summer.

The program was a nod to all of the soaring and glorious music of the American Musical Theater.   Sets included roles she sang in high school - including Agnes Gooch  from Mame...she said she auditioned for Mame but received the first of many rejections so was offerered the role of Gooch, which is still her "mother's favorite of all of her repertoire."  This she shared with deadpan delivery.    

While the chosen songs were a bit predictable - big soprano voice set to soaring orchestrations - it was crowd pleasing and thrilling.  Highlights of the evening were "Oklahoma" with the hokey intro with Paulo Szot and the full chorale which had the audience dancing in their seats; a preview of Annie Get Your Gun, again with Paulo and a gorgeous "They Say It's Wonderful" and a very funny "Old Fashioned Wedding;" a stunning rendition of "Losing My Mind" from Follies; and a thrilling set from Porgy and Bess sans microphone - Deborah's "My Man's Gone Now" was gut wrenching and gorgeous; and finally she knocked it out of the park with "I Could Have Danced All Night" from My Fair Lady.

Even though Deborah left her shield and spear back at the Met, she took the opportunity to call out "Hojoto" as much as possible, which was at once thrilling and hysterical.   This Diva could certainly have a career as a musical theatre goddess in addition to ruling the opera stage.  

The full song set:

It's a Grand Night for Singing
Goodnight my Someone
My White Night
Laida Rose
Gooch's Song
Why Was I Born
Some Girl is On Your Mind
Can't Help Lovin' That Man
You Are Never Away - Paulo
Something Wonderful
Oklahoma - Deborah and Paulo
Moonshine Lullaby
They Say Its Wonderful - Deborah and Paulo
Old Fashioned Wedding
Losing My Mind
This Nearly Was Mine - Paulo
Bess You Is My  Woman - Deborah and Paulo
I Can't Sit Down
My Man's Gone Now
I Could Have Danced All Night

Encores:  I Can Do Anything You Can Do, I Can Do Better and a reprise of Oklahoma

Photos by Erin Baiano via Michelle Tabnick Communications

ITBA - 2011 Award Nominations

The Independent Theater Bloggers Association, aka The ITBA, of which I am a member and the communications director, has announced the nominees for its annual awards.  

These are the third annual awards by the ITBA and in honor of our dear departed colleague Patrick Lee, a theatre blogger and lover of all theatre who passed away suddenly and sadly last year, the awards are now known as the Patrick Lee Theater Blogger Awards, "The Patrick" for short.   The recipients of the 2011 Patricks will be announced this Friday, May 20, 2011.
The nominees are:

OUTSTANDING NEW BROADWAY MUSICAL
Bloody Bloody Andrew Jackson
Catch Me If You Can
The Book of Mormon
The Scottsboro Boys
Women on the Verge of a Nervous Breakdown

OUTSTANDING NEW BROADWAY PLAY
Bengal Tiger at the Baghdad Zoo
Brief Encounter
Good People
Jerusalem
War Horse

OUTSTANDING BROADWAY MUSICAL REVIVAL
Anything Goes
How to Succeed in Business Without Really Trying

OUTSTANDING BROADWAY PLAY REVIVAL
Arcadia
Born Yesterday
The Importance of Being Earnest
The Merchant of Venice
The Normal Heart

OUTSTANDING NEW OFF-BROADWAY PLAY
Gatz
Other Desert Cities
Peter and the Starcatcher
The Elaborate Entrance of Chad Deity
The Metal Children

OUTSTANDING NEW OFF-BROADWAY MUSICAL
Freckleface Strawberry
In Transit
The Burnt Part Boys
The Kid
We the People: America Rocks!

OUTSTANDING OFF-BROADWAY REVIVAL (PLAY OR MUSICAL)
Angels in America Part 1: Millennium Approaches
Angels in America Part 2: Perestroika
Hello Again
The Little Foxes
Three Sisters

OUTSTANDING SOLO SHOW/PERFORMANCE (ALL VENUE CATEGORIES)
Kimberly Faye Greenberg, One Night with Fanny Brice
John Leguizamo, Ghetto Klown
Michael Shannon, Mistakes Were Made
Mike Birbiglia, My Girlfriend's Boyfriend
Tim Watts, Alvin Sputnik: Deep Sea Explorer

OUTSTANDING OFF-OFF-BROADWAY SHOW
Belarus Free Theater's Discover Love
Black Watch
Dog Act
Feeder: A Love Story
Invasion!
Reefer Madness, The Gallery Players
ReWrite
The Caucasian Chalk Circle
Treasure Island

Hairspray at the Midland Community Theatre

Cara attended the Midland Community Theatre's production of HAIRPRAY on Saturday night.   Being one of her favorite films, I knew she'd enjoy seeing the stage show.  Here is her review:

Last night I went to the Yucca Theater in downtown Midland, Tx and saw the play Hairspray. It was so good. I was amazed! Tracy and Amber were my favorite characters in the play. Edna was funny too. The Midland College band played the music and it was very good. My favorite part of the play was at the end when Tracy came in the back of the theater with Link and surprised everyone at the Miss Hairspray contest. My favorite song was "Good Morning Baltimore"and "Welcome to the 60s." Thank you RahRah for the tickets!

LOVE GOOD CARA

Happy Birthday Kate Baldwin: a new baby and a new album!

Today is Kate Baldwin's birthday!   I think this is a pretty good birthday year for her; she and her husband Graham Rowat are new parents to Colin, born on April 19th, and she has a new album being released!  

In March, Kate appeared at Feinstein's at the Regency in a week long gig titled "She Loves Him."  The set was comprised of the music of Sheldon Harnick, the Tony and Pulitzer winning lyricist of Fiorello, She Loves Me, Fiddler on the Roof, The Apple Tree, etc.   Mr. Harnick joined her on stage for the second half of her show and blew us away.   Fortunately, for all of us who where there, and those who weren't lucky enough to be there, the set was recorded live and will be released by PS Classics in July - which is a birthday present for me!  

I have a confession to make:  I have never seen any of Sheldon Harnick's shows.   However, I have the original cast albums and I've seen Mr. Harnick perform on a number of occassions - Wall to Wall Sondheim, Wall to Wall Broadway, and finally at Kate's show at Feinstein's.   He is nothing less than charming and the perfect match to delightful Kate Baldwin.    The show, directed by Diana Basmajian  was pure joy, just like Kate. 

To borrow a phrase, Kate is "easy, breezy and beautiful," both in presence and voice.  I've been a fan since I saw her in the Sondheim revue Opening Doors at Zankel Hall in 2004.  She has the kind of vocal versatility that is thrilling - one song will be light and pretty or funny, the next is soaring soprano.  I truly believe there is nothing she can't do.   I'm anxiously awaiting to hear what is next for Kate, but for now, I'm very excited to wait for this album She Loves Me.