Well, Hello Dolly!

It’s being reported widely how Dolly Parton saved the world premiere performance of her new out of town musical adaptation of the hit movie 9 to 5. As is the case with many shows just getting up on their feet, problems with scenery and changes are likely and can bring the proceedings to a screeching halt. However, many shows don’t have someone like Dolly who can keep the audience engaged with her genuine warmth and personality (not to mention voice). What a night it was too, considering Jane Fonda, Lily Tomlin and Dabney Coleman were all in attendance as well. Must have been some treat for the audience. Perhaps when this is done, Dolly should consider a one woman show?

Here is a recap of the first night performance from the KTLA Morning news blog:

She has doubtlessly performed on thousands of concert stages all around the world; but Saturday night at the World Premiere of the stage musical version of her very own “9 to 5,” Dolly Parton had to save opening night, by performing, completely impromptu, from the audience.

Parton, was among a star studded crowd; including fellow ‘9 to 5’ film cast members Jane Fonda, Lily Tomlin, and Dabney Coleman; all of whom were on hand to see the Broadway Bound musical based on the movie from 1979.

Dozens of other stars were in Los Angeles’ Ahmanson Theater, including, Gabriel Byrne, Tracey Ullman, Blythe Danner and Jason Alexander; when the show was stopped cold about 15 minutes into the performance by “technical difficulties.”

Allison Janney, Stephanie J. Block and Megan Hilty; playing the roles Tomlin, Fonda and Parton made famous in the movie, were in the midst of a scene change, when the curtain came down and an announcer informed a stunned audience that the show would be stopped for a few minutes because of some technical problems.

As the minutes dragged on and on, a clearly restless audience was cheered when Parton stood-up right from her seat in the middle of the theater and said; “If they can’t perform the show, I’ll do some of it from right here.” Parton then proceeded to lead the entire audience in a sing-a-long version of the title song ‘9 to 5.’ That number, drew a rousing ovation from the crowd; but the delay wasn’t done and neither was Dolly.

Audience members could hear construction equipment like power drills and saws at work while Dolly continued to charm the audience with a talk about the origins of the musical show; as well as introducing her ‘9 to 5’ film co-stars. As the delay continued, Parton offered to take questions from the audience; and then asked if the audience would like for her to sing another song; ‘I Will Always Love You.’ Before beginning the second number Dolly told the crowd, “Maybe I’ll wait, in case things get screwed up again and I have to fill more time.”

After a complete set of about 20 minutes of both song and chatter the show resumed.

The audience remained in a great mood, and very open to the rest of the show, thanks entirely to Dolly and her efforts. The remainder of the musical went off without a hitch and was greeted with a long standing ovation.

However some theater veterans in the crowd could be overheard saying that the show will certainly need a few tweaks before a scheduled April 2009 opening on Broadway.

In my view, the show was about “85 percent there.” There seem to be a few “filler” numbers, and a few scenes that I think might make some people simply uncomfortable. Does Dolly have a sure-fire musical theater hit on her hands? I can’t honestly be certain. But there is no doubt that a potential opening night disaster was clearly diffused by a very talented and more than willing to “wing-it” Dolly Parton.

Quote of the Day, Emmy Edition

It’s a fact that awards aren’t necessarily the best indicator of quality. That doesn’t make it any less shocking that Angela Lansbury has been nominated 18 times but never won an Emmy

After seven decades in showbiz, she’s a living legend, with four Tonys, six Golden Globes and three Oscar nods. But the role she’s most known for — mystery novelist-cum-amateur-sleuth Jessica Fletcher on ‘Murder, She Wrote’ — earned her 12 Emmy noms (no wins), for a career total of 18 … and she never complained like Susan Lucci.

– AOL’s profile of this weekend’s Emmy awards

It really is a travesty that the highest award in television has never been bestowed on Lansbury, but looking at the other actors in this list, she enjoys the esteemed company of Gracie Allen, George Burns, Sherman Hemsley, Michael Landon (who was never Emmy-nominated once over the course of three series, 652 episodes of television!), Bob Newhart, Jane Kaczmarek, Jason Alexander, Buddy Ebsen, Desi Arnaz, Andy Griffith and Jackie Gleason.

Well, there’s always a place on Broadway for Angie. So come back to us as Madame Arcati in the spring revival of Blithe Spirit and clear your mantle for a fifth Tony!!

A Man for All Seasons

“More is a man of an angel’s wit and singular learning; I know not his fellow. For where is the man of that gentleness, lowliness, and affability? And as time requireth a man of marvellous mirth and pastimes; and sometimes of as sad gravity: a man for all seasons.”

-Robert Whittinton, on Sir Thomas More, 1520

Get thee to the Roundabout revival of A Man for All Seasons! I had the great fortune to attend the fourth preview on Sunday with Sarah and must say it’s well on its way to being one of the highlights of the season. There is one reason and one reason alone that makes attendance mandatory: Frank Langella as Sir Thomas More. When Langella is onstage, which is for almost the entire running time of the play, the combination of Robert Bolt’s prose and Langella’s formidable talent provides an affecting lyricism, as we watch a man of such integrity refuse to compromise his morals and ideals for political reasons.

Sir Thomas More is a fascinating individual. He was noted as an author, lawyer and statesman. He insisted that his daughters be educated as well as his sons, especially rare in the 16th century. In Robert Bolt’s play, the playwright gives us a human portrait of one of the most respected statesmen in the history of England. More, who was one of King Henry VIII’s favorites, would meet his end when he couldn’t compromise his own moral beliefs and integrity and swear allegiance to Henry, who so desired a male heir that he would split from the Church in Rome, starting the Church of England. When More refused to take the mandatory oath of allegiance to the Act of Succession, which recognized Henry’s second wife, Anne Boleyn as his wife and their children as heirs to the throne of England, he was tried for treason and was executed by beheading on Tower Hill at the Tower of London. More was canonized a saint by the Roman Catholic Church and also has a feast day on the Anglican calendar.

(It should be mentioned that while the play portrays the man as being born with a halo, he was vehemently against Protestant Reformation, leading a violent scourge of Lutheranism in England which included the burning several people at the stake for heresy. Well… nobody’s perfect).

Bolt, a noted agnostic, was not so much interested in the religious implications surrounding the character of More, but moreso as a man of conscience and integrity, who refused to bend to the whim of the King. The play had a moderately successful run in London in 1960 and later opened on Broadway in 1961, where it was an even bigger success winning the Tony award for Best Play. The play was made into a film in 1966, directed by Fred Zinnemann and starring Paul Scofield, who had originated the role of More in London and on Broadway to Tony-winning effect. The film would prove an overwhelming success, winning six Oscars including Best Picture, Best Actor for Scofield and Best Screenplay for Bolt. A second film adaptation with Charlton Heston (who also directed) would follow in 1988.

Patrick Page has a fantastic cameo as Henry VIII in the first act, a scene that lasts only several minutes but makes a lasting impression, as see both the lighter and darker sides of Henry. Tony winner Maryann Plunkett makes a return to Broadway after a twenty year absence as Alice More, Thomas’ second wife. Zac Grenier proves a powerful foil in Thomas Cromwell, who does everything in his power to bring down More. Richard Strong is Richard Rich, the commoner who would become Chancellor of England before his death, and who is considered one of the great political villains of all time. Rich is responsible for ultimately selling out More to Cromwell under what is widely considered to be perjured testimony.

However, it all comes back to Langella, especially in his second act decline from nobleman to prisoner. The second act, really, is where the play truly takes off. There is a great deal of exposition to be learned in the first, where we are given a full introduction to the period, era and political-religious implications of the time. But it is in the second act when More refuses to take the oath and loses everything he has that the play truly soars. Most notably in the heartbreaking scene in which he says goodbye to his family (both on film and onstage this scene can reduce an audience to tears) and the trial scene that immediately follows in which More makes his final statement before the court. His performance is of such definition and quality, I can’t help but be excited by the fact that I get to see it again towards the end of the run.

Catherine Zuber provides elegant period costumes, a celebration of earth tones and with such exquisite detail, she will most likely be in the running for her fifth straight Tony win this year. Santo Loquasto’s set is simple, yet most effective in use of the space, complementing the staging of the director quite nicely. Hughes has eliminated the character of the Common Man, and really, he isn’t missed. The Common Man was a Brechtian device that narrated and commented on the play to the audience, while also appearing as More’s servant, the executioner, a boatman, etc. Really, he’s not much missed. (And yes, the Bolt estate approved the changes).

I couldn’t help but think of the relevancy this historical drama has in our own society. What it says about leadership and remaining true to oneself. There is much to be admired about Sir Thomas More, in not bending to the King’s will against his own ideals to the point of losing his life so as not to compromise his moral fiber. My God, what our politicians and statesman could learn from More, as an example on how to govern with integrity, gravitas and conscience.

Barbara Cook: My Life in American Music

Living legend Barbara Cook discusses her singing career from Broadway to the concert stage for KCRW, an NPR affiliate in Santa Monica, CA (with ample representation of her music). Did you know that for the spoken lines in “Glitter and Be Gay” from Candide, she called upon a performance of Lady Macbeth by Fay Bainter from a record of the Mercury Players production of the Scottish play? The interview is filled with little factoids like that, as well as insight into how Cook approaches the art of singing. The interview coincides with the upcoming gala opening of the Eli and Edythe Broad Stage at the Santa Monica College Performing Arts Center, at which Cook will be the inaugural performer.

Craig Ferguson: "If You Don’t Vote, You’re a Moron"

It has been fascinating to watch Craig Ferguson on The Late, Late Show this year (or well, any year, the man is brilliant). I’ve been a fan of his ever since I first saw him play Nigel Wick on The Drew Carey Show. He is also the author of one of my all-time favorite books, Between the Bridge and the River, which may very well be the most impressive debut novel I’ve read (which I highly recommend to all of you). This year, the native Scot took the US citizenship test and passed with a perfect score. He became an American citizen on February 4 and ever since has taken an active interest in the upcoming presidential election.

What sets Ferguson apart from the other late night hosts is that he foregoes a scripted monologue and just speaks off the cuff. He has been known to use the platform to excoriate the media’s coverage of Britney Spears, defend Rosie O’Donnell during her feud with Donald Trump and upon the death of his father, gave his dad a touching eulogy. His conversational style puts most of his interviewees at considerable ease and provides his audience with an amusing hour on TV.

Last Wednesday, Ferguson gave this open and honest monologue about the upcoming presidential election with equal opportunity observations about the candidates. It’s quite refreshing to see someone, especially a new citizen voting for the very first time, take such a vested interested in one of our elections – and be hilarious about it. Enjoy.

Yet even more "August" casting news

It was announced this evening that two-time Tony winner John Cullum will be taking over the role of Beverly Weston for a limited one week, 8 performance run while Michael McGuire takes a vacation. Talk about ideal casting, even if only for a week. Though with McGuire’s pending departure from the NY to go to London, perhaps Cullum will be taking over the role on a more permanent basis…?

Cast complete for London "August"

It was announced weeks back that the majority of the original Broadway cast of August: Osage County would be recreating their roles for the upcoming run at the National Theatre in London. Casting for the role of Steve Heidelbrecht was pending; however, it was announced today that Gary Cole, a popular character actor in Hollywood comedies and television, as well as a Steppenwolf member, would take on the role for the 8 week run this fall.

Anyone want to fly to London….?

Doubt: A Trailer

Meryl Streep…
Philip Seymour Hoffman…
Amy Adams…

and of course the great Viola Davis.

Doubt.

Judging strictly by the theatrical trailer, it looks like the film adaptation of Doubt is going to be quite good. As a matter of fact, it looks like it might be excellent and a major awards contender this Oscar season. The play, which won the Pulitzer and Tony back in 2005, has a taut, masterful structure and one that I felt would open up well on screen. I have to admit that I was biased in favor of the original cast and rather disappointed when Meryl Streep and Philip Seymour Hoffman got the leads. (Comparisons are unfair, yet inevitable. If you go to the message boards, there is no shortage of opinion and the insults hurled at said opinions are ringing out like freedom). I have to say for as strong as the film appears to be, I feel that the two leads lack the distinctive characterizations that made the set match between Cherry Jones and Brian F. O’Byrne so fascinating. Especially with Sister Aloysius, a formidable Catholic school principal with considerable authority, but who is essentially powerless in the greater patriarchal hierarchies of the Catholic church.

I’m curious to see if Streep and Hoffman can give the characters the distinctive objectivity that made the stage production fascinating to watch. Aloysius was tough but never a sinister harridan in spite of her convictions. (Those calmer revealing moments about her character spoke volumes to an inestimable warmth hidden under the stern veneer and stiff habit). My one qualm is that the trailer shows the nun in a more damning light, with Streep seeming a bit too Regina Giddens for the character. (Perhaps Streep should consider a revival of The Little Foxes in NY?) Flynn was the ideal younger priest – progressive, charismatic and incredibly impassioned. The way the play has been written, it isn’t easy to side with either one. I am most curious to see what happens when these characters are placed on screen.

Amy Adams looks like she is a stellar choice for the role of Sister James, the anemic, young nun who finds herself getting caught up in the battle between Aloysius and Flynn. Knowing what I do of the character and just from seeing her in this trailer, I get the distinct feeling that Viola Davis is going to walk away with the film, in tradition with original cast member Adriane Lenox who won a Featured Actress Tony for her 8 minute scene.

When I saw Doubt, my sympathies volleyed back and forth between Aloysius and Fr. Flynn throughout the ninety minute parable. Shanley offered in his playbill bio the opportunity to send him an email telling him of your thoughts and I did so. If I delved further into my thoughts here, I would spoil things for those unfamiliar with the piece. At the end of the play, I couldn’t side with either one. Both had strong arguments and emotions, but at the heart of it, there was nothing but circumstantial evidence to back it up.

Did anyone see the original production of Doubt? Any thoughts on the upcoming film?

What About Barbara?

It was announced this morning that the Kennedy Center honorees will include Morgan Freeman, Twyla Tharp, Peter Townshend & Roger Daltrey of “The Who”, country singer George Jones and Barbra Streisand.

I can clearly understand why the aforementioned six would be honored for career achievements in their respective fields. But year after year I always have to ask the same question. Where is the Honor for Barbara Cook? I thought sentimentality would be on her side this year; what with her 80th birthday and subsequent concerts, possibly helped by the cabaret series she is hosting at the Kennedy Center this fall. Cook’s career as a musical theatre star on Broadway lasted from 1951 to 1972 with such shows as Plain and Fancy (Theatre World award), Candide (her “Glitter and Be Gay” is untoppable), The Music Man (Tony Award, Best Featured Actress) and She Loves Me (which gave her “Vanilla Ice Cream,” a match made in heaven). There were also flops such as Flahooley, The Gay Life (which offers one of her best performances on record), Something More and The Grass Harp. On the dramatic side, she was a replacement for Sandy Dennis in Any Wednesday and appeared in Little Murders and Enemies. During this time she was frequently seen in City Center revivals of Rodgers and Hammerstein shows, as well as many stock productions. Cook reinvented her career in the mid-1970s as a cabaret performer, carving a second niche out of her career that has kept her popular with the public and critics for decades now. Add to this list her appearanace as Sally in the 1985 concert of Follies and the London premiere of Carrie. She has since appeared in concert in various Broadway and concert venues, earning 2002 Tony nomination for Special Theatrical Event. (Do they still give that out?) Having seen Ms. Cook live in performance, it is one of the most intimate and warm experiences between a performer and audience. It’s almost as though you were visiting with a favorite grandmother as opposed to a concert. Hearing the honest emotion and depth she applies to any lyric is a master class in interpretation.

Barbara Cook has been in show business for sixty years and I think it’s about damn time she had a Kennedy Center Honor as well. Just my two cents…

Here are two Cook moments for you. The first is an appearance on the Ed Sullivan Show where she sings the achingly beautiful “Magic Moment” from The Gay Life. The second is “It’s Better With a Band” from an appearance with the Melbourne Symphony Orchestra back in the 80s.