Peter Filichia interviews, 91 year old Shannon Bolin, who originated the role of Meg Boyd in the original Broadway production and subsequent film adaptation of Damn Yankees.
Author: Chris Van Patten
When You’re Good to Mrs. Brady
Though most of you remember her as the perennial TV mom, Mrs. Carol Brady from The Brady Bunch and its various offshoots into variety, comedy and even drama over the years, Florence Henderson was a premiere musical theatre ingenue in the 1950s. She made her Broadway debut in the chorus of Harold Rome’s Wish You Were Here. She continued to make a name for herself in national tours (most notably the first road company of The Sound of Music), Laurey in Oklahoma! at the City Center (with Barbara Cook as Ado Annie), the title role in Rome’s Fanny and a superlative turn in the final Noel Coward musical The Girl Who Came to Supper, her final Broadway appearance to date. TV soon called, and of course, Wesson Oil.
Anyway, here she is in an entirely new realm. Leather mama…? This is a kinky spin on a Kander and Ebb favorite at a tribute of theirs a few years ago. Say whatever you will about the performance, she looks phenomenal.
Random Thoughts on This & That
I’ve had difficulty logging into my blog over the past couple of days. I’m not sure what was up, but it was mighty frustrating not to be able to update.
Wall-E is one of the most extraordinary and ambitious Pixar films ever made. The film is a sort of Chaplin meets 2001 with extraordinary results. For those who love the musicals, it’s been heavily documented that the little robot’s favorite movie is Hello, Dolly! and Jerry Herman’s “Put on Your Sunday Clothes” and “It Only Takes a Moment” become incredibly important to the character and plot (wow, a song advancing a plot, isn’t that something…). To say the romantic aspect of the film is moving is an understatement. People have been critical of the subtle or not-so-subtle (it seems to depend on your political leaning) criticism of human consumerism and waste. As I was watching, I realized that this could have functioned as a live-action science fiction film. I was in a movie theatre with absolutely no children and was a moving experience. And that little robot is so cute, I want one for a pet. One of the best films of the year so far. Oh – and having Sigourney Weaver as the voice of the ship was a very nice touch.
There was a headline the other commenting on how Katie Holmes couldn’t bring about a million dollar advance sale for the impending revival of All My Sons. Truth be told, I think most people would be more excited to see the other three actors that have been cast: John Lithgow, Dianne Wiest, and Patrick Wilson. Perhaps Maggie Gyllenhaal will stand-by for her…?
Jan Maxwell is returning to Broadway as Maria Tura in the MTC production of To Be or Not to Be at the Biltmore this fall. Craig Bierko will be her costar. How exciting to have an actress as gifted and witty as Maxwell back on the boards. Her work as a self-preserving, pragmatic proto-feminist in the highly-inventive, but woefully shortlived Dickensian melodrama Coram Boy was multi-faceted and captivating. (Could I have crammed anything more into that sentence, yikes). The Walter Kerr shall not be dormant for long. Olivier-winner Kristin Scott Thomas and Peter Sarsgaard will headline the import of the London revival of The Seagull, that immortal laugh riot by Russia’s great gag writer Anton Chekhov. (Name that musical!)
I renewed my subscription at Roundabout. Looking forward to Pal Joey with Stockard Channing, A Man for All Seasons with Frank Langella and the revival of Hedda Gabler. I also want to see The Marriage of Bette and Boo with that delectable Victoria Clark and company.
I will be at The Dark Knight not Mamma Mia on July 18 at 12:01AM.
Spike Lee will be turning Passing Strange into one of his joints. He’ll be filming three performances of the show this month for airing on a TBD cable station.
Oscar nominee and stage vet Amy Ryan will be reprise her recurring role as Holly, the new HR representative at Scranton’s Dunder-Mifflin next season on The Office. I can’t wait to see where they take her character and Michael Scott, who had inexorable chemistry in this year’s season finale.
I’m taking in tomorrow’s matinee of A Catered Affair thanks to Chris at Everything I Know I Learned From Musicals. Look forward to reporting on Faith Prince. Not to mention a round two of “The Bloggers Who Brunch” on Sunday.
Happy Fourth of July everyone.
“Someone ought to open up a window…!” 😉
Violet Weston is Alive and Alone and Living in Pawhuska
For the heck of it, I decided to take in August: Osage County again (the Sunday matinee on 6.29), this time to see how the play holds up with replacement cast members. Five of the actors, including Tony-winners Deanna Dunagan and Rondi Reed, departed the company on Tony Sunday.
It’s sometimes hard to attend a play or musical after a favorite original cast member has left. The actor has worked specifically on the structure and personality of the character, often creating from the bare minimum. Estelle Parsons is now the matriarch Violet Weston, with Robert Foxworth (of TV’s Dynasty and Six Feet Under) as Uncle Charlie, Jim True-Frost as Little Charlie, Tony-winner Frank Wood as Bill and Steppenwolf member Molly Regan as Mattie Fae.
The replacements are all stellar; all fitting in seamlessly with the Weston family unit. The only disappointment lies in Regan’s Mattie Fae. There was something incredibly special in Reed’s characterization, her embodiment of certain lies that provided the audience with an incredibly likable vulgarity. Such lines as “The situation is fraught,” “I’m having a cocktail,” and “It’s my casserole” became special moments for theatregoers. In contrast to Reed’s short, stout physique, Regan is younger, taller, thinner and more of a harradin. She still manages to nail the character in points where it counts, particularly in her revealing final scene in the third act. I’m not saying that she isn’t giving a good performance, but it is in this character, I missed the original performance the most. Foxworth lends his laidback gravitas to Charlie. Wood has a field day with Bill, proving a volatile replacement for Jeff Perry and scene partner for Amy Morton (who is still giving the performance of a career here). True-Frost provided an endearing Little Charles.
Now onto the star turn. Estelle Parsons is a perfect embodiment of Violet Weston. Comparisons to Dunagan’s performance are inevitable; however, Parsons’ characterization is steeped in the text and she is never unfaithful to playwright Letts or director Shapiro. She was the actor I really watched the most throughout the play. With an Oscar and an impressive resume, it’s the first time she’s been on Broadway since the 2002 revival of Mornings at Seven. I’ve got to say, I enjoyed her from start to finish. With a physicality and appearance that defy her 80 years, Parsons dives in head-first into this mammoth part. Though less acerbic than Dunagan, Parsons manages to go on her truth-telling crusade with a headstrong vindictiveness that is ultimately tragic. Where Dunagan was pointedly sardonic and chilly, Parsons is a bit calmer; presenting a deceptively docile exterior, with a treacly sweet smile more venomous than a sprig of holly. She hasn’t quite nailed the second act dinner sequence – she appeared to lose her place during the claw-hammer monologue (with Morton, always the ultimate pro, prompting her back into the scene in a seamless manner, making it all appear as part of the action. Brava, Morton!), but trust me, she’ll get there. Parsons made an interesting choice – she constantly stole glances at Barbara in order to gauge a reaction. She also managed to bring down the house twice with the lines “It speaks” and “Scintillating,” involving Little Charles burst of courage during same sequence. (Let me also say from an acting perspective how spectacularly Parsons listens onstage).
Parsons’ has turned the final five minutes of the play into such a sobering denouement that it hasn’t been before (for me). “Listen, you smug little ingrate,” which was delivered with a viciousness and manic frenzy that was chilling. The audience was numbed most of all by her acting in the final moments, an almost apologetic and soothing calling out of names, during which panic starts to build, and explodes as she realizes no one is left. For the first time, I welled up during “And then you’re gone, and then you’re gone…” – one other thing that happened, and I think it was an accident, but after the blackout, there was one last mournful “and then you’re gone” in the total darkness that just resonated so perfectly, I wish the play always ended like that.
The audience continues to hinge on every word. Their response was nothing short of cacophonous. If you haven’t yet seen this play, get your tickets and go. The play is as strong as ever, and in more than capable hands. I myself can’t wait to see Parsons do it again, to see how she grows into the role.
Violet Weston is still here. And I hope she never invites me for dinner.
Life Lessons from the Merm
– Always give them the old fire, even when you feel like a squashed cake of ice.
– Any audience that gets a laugh out of me gets it while I’m facing them.
– As far as dramas are concerned, it’s considered passe for playwrights to turn out anything the average person can understand.
– At a flea market I always head for the junk jewelry table first.
– At one time I smoked, but in 1959 I couldn’t think of anything else to give up for Lent so I stopped – and I haven’t had a cigarette since.
– Broadway has been very good to me. But then, I’ve been very good to Broadway.
– Christmas carols always brought tears to my eyes. I also cry at weddings. I should have cried at a couple of my own.
– Cole Porter had a worldwide reputation as a sophisticate and hedonist.
– Cole Porter wrote Anything Goes and four more hits for me.
– Eisenhower was my war hero and the President I admire and respect most.
– I am known to be able to take care of myself when I become angry. I don’t mince words.
– I attend surprisingly few shows. The type of theater that is popular today just doesn’t appeal to me.
– I can never remember being afraid of an audience. If the audience could do better, they’d be up here on stage and I’d be out there watching them.
– I don’t like to read. The only things I read are gossip columns. If someone gives me a book, it had better have lots of pictures.
– I have plenty of invitations to go places, lots to do. If I’m not working, I go to have my hair taken care of and work at needlepoint.
– I preferred delivering my performance in person. I liked to be in control. You couldn’t be in films.
– I take a breath when I have to.
– I was born in my parents’ bedroom on January 16. The World Almanac says it was 1909. I say it was 1912. But what difference does it make as long as I feel 33?
– I was lucky enough to have the songs in my first show written by George and Ira Gershwin. Then Cole Porter wrote five shows for me.
– I wasn’t straining at the bit to become a movie star any more than I had plotted to get out of vaudeville and into Broadway musicals.
– I work as often as I want and yet I’m free as a bird.
– People who retire fall apart. As long as you’ve still got it, use it.
– I wouldn’t change one thing about my professional life, and I make it a point not to dwell on my mistakes.
– I wouldn’t trust any man as far as you can throw a piano.
– I’ll pat myself on the back and admit I have talent. Beyond that, I just happened to be in the right place at the right time.
– I’ve made a wonderful living playing that theatrical character – the professional brassy dame.
– I’ve never cooked. I can’t do much more in the kitchen than make a cup of tea and some toast.
– I’ve never suffered stage fright. That fascinates people.
– If I feel in need of sleep, I just open a book or turn on the television. Both are better than any sleeping pill.
– In my case, things have pretty much been handed to me.
– Legend has it that when God created me, he gave me a big distinctive voice, a lot of boldness and no heart.
– Mom and Pop were proud of my popularity, but from their point of view, show business was no way to make a living.
– Mom claimed that I could carry a tune at 2 or 3 years of age. Maybe she was a little prejudiced.
– Music, in the past few years… anything singable or understandable is square.
– My beloved Mom and Pop always rated tops with each other, and that’s the way it will always be.
– My career at Warner Brothers consisted of one musical short subject. I was running around in a bear skin. Very chic.
– My father taught me to read music and play the piano-but not well, even though people have said that I’m a natural musician.
– Of my four marriages, the one to Bob Levitt is the only one I don’t regret.
– Once I had all the attention, all I had to do was deliver.
– The slapdash way producers used to assemble a show seems a little unbelievable when we talk about them now.
– There have been people who have tried to take advantage of me. They want to be linked to me just because I’m Ethel Merman.
– There’s such a thing as theater discipline. One player doesn’t appropriate another’s inventions.
– When I’m asked how to succeed in show business, I always say I haven’t the foggiest.
– When you are in deep conflict about something, sometimes the most trivial thing can tip the scales.
– There are lots of show tunes left to do.
– You can’t buck a nun. (Losing the Tony for her Rose to Mary Martin’s Maria von Trapp)
– Call Miss Bird’s Eye 1950, this show is frozen! (being presented new lyrics for Call Me Madam)
"Don’t Touch the Coat…"
Pacific Overtures is one of the most fascinating of Stephen Sondheim’s musicals. A concept musical about the westernization of imperial Japan in the 19th century, and its impact on Japanese culture and traditions is not your typical musical. Sondheim studied Eastern music for months, director Hal Prince adapted the styles of Kabuki theatre for the production in its design and staging. The results are mesmerizing. The show featured an almost all-male cast that included Mako, Yuki Shimodo (the original Ito in Auntie Mame!), Sab Shimino, Alvin Ing (who reprised his role for Roundabout) and Gedde Watanabe (later part of Sixteen Candles? Anyone?). The show opened in 1976 at the Winter Garden, where it ran for 193 performances. I saw the Roundabout revival, starring B.D. Wong. While I didn’t particularly care for that production on the whole, I was able to look past what I disliked to admire the brilliance in the writing of Sondheim and librettist John Weidman.
While the show boasts the ever-brilliant favorite of Sondheim, “Someone in a Tree,” I would have to admit that “Please, Hello” is my personal favorite song in the entire score. It’s mammoth 9 minute act two opener in which America, Britain, Holland, France and Russia are vying for detente with Japan. It’s a marvel of sophistication, historical accuracy, pastiche (each country is represented by a native musical style of the period) and vocal arrangement. The number was the highlight of the revival, bringing the show to a halt.
The original production was taped for broadcast on Japanese television, but has never been aired in the US. (Calling PBS!! Or Image Home Entertainment!)
Here is the original cast performing “Please, Hello.” Enjoy.
Quote of the Day, plus a Book Recommendation
“It hits me: Life should be like musicals: along with the sentimental ballads and the sadness hiding in the shadows, laughs, lots of laughs, and dancing always. I think I understand that now.
You can write the pain (God knows there’s enough of it), or you can let loose with the joy.
Why did I remember half this stuff? Because it’s a memoir, pal.
But it’s not. It’s a musical comedy.”
– Charles Strouse, from his memoir Put on a Happy Face
If you’re itching for something to read, I highly suggest Mr. Strouse’s memoir. I got it last night and finished it early this afternoon: it’s engaging, honest and always entertaining (and occasionally dishy). There are many other amusing anecdotes and quotes, but you have to read the book in order to get some of those (Arthur Laurents, how could you? oh wait… we remember).
You get his perspective on the many shows of his career, from his summer revues at Green Mansions all the way up to Marty (which according to a photo caption in the book recorded a cast album last year with John C. Reilly and Carolee Carmello) and The Night They Invaded Minsky’s (which will be mounted in LA at the Ahmanson in late 2009, with Bob Martin as the new librettist). Lots of colorful characters along the way. Mr. Strouse seems like a very congenial, approachable gentleman who has supplied us with several standards of the canon like Bye Bye Birdie and Annie, hits like Applause and Golden Boy, but also with several misfires, such as Rags, Annie 2, Bring Back Birdie, to name a few. I knew he and his frequent collaborator Lee Adams wrote the iconic “Those Were the Days” for All in the Family. What I didn’t know was that the presentation with Jean Stapleton and Carroll O’Connor was Strouse’s idea (stemming from a lack of budget and a nostalgic homage to his own parents). The only complaint? I wish the book were more in depth.
Florida Educator Terminated for Appearing in "The Full Monty"
Emil Steiner in the Washington Post blogs.
Is an educator responsible for the content of extra-curricular activities, (or pertaining to this incident: when appearing in a community theatre production of The Full Monty)?
Given the nature of the show, the nature of the production and the nature of the situation, I think that the school is overreacting. It’s not as if the students were forced to participate in the event; it just doesn’t seem fair. I hope someone finds this man a job – and soon.
It’s an honor and a joy…
When I go to the theatre alone, it’s very much a gamble the sort of audience experience I will have. I was most fortunate that my mezzanine seat was traded in for a center orchestra spot. I had the most wonderful conversation with a very classy, middle-aged couple who love the theater immensely and go as often as they can, whether together or alone. We discussed everything about the current season, the Tonys, what we were most looking forward to the coming year. It was akin to our blogger brunches, deep common bond stemming from a genuine enjoyment of the live theatre experience. I greatly enjoyed my twenty minutes spent with this witty, urbane couple prior to the show. Plus the engaging 15 minutes intermission (I was asked if I wanted anything from the bar. God, I love manners).
The current production is decidedly uneven. Clocking in at 2 hours and 45 minutes, it makes for a rather long evening. And though she proved fascinating to watch on stage and was giving 110%, Linney felt miscast as the Marquise de Merteuil. The reason to see it surprisingly enough turns out to be English actor Ben Daniels in his Broadway debut as Valmont. The word that springs to mind most to describe him onstage would be fearless. An engaging, witty and foppish presence, the play loses steam whenever he isn’t around. (The audience gasped en masse when he dropped his robe in the forced seduction scene). The scenes he has with Linney are the most interesting and compelling, everything else feels like waste. Mamie Gummer (aka Meryl Streep’s daughter) is making her Broadway debut as the virginal Cecile and Sian Philips has the choice supporting role of Madame de Rosemonde. Well, actually the entire supporting cast was underwhelming. I couldn’t help but think how interesting this story would be as a mere two-hander, akin to the style of the original novel. I was glad for the opportunity to see the two actors, but I still don’t like it.
Things were much more entertaining at Curtains. Now, for whatever reasons (financial or otherwise) I’d held off on seeing the Kander and Ebb musical, though my desire to see it was never in question from the first announcement of its out of town tryout. I saw the original cast of Spamalot the week before the Tonys, and I thought David Hyde Pierce was the most Tony worthy of the three stars, yet the only one overlooked for a nomination! His “You Won’t Succeed on Broadway” was a colossal showstopper, and he proved himself a successful – if unlikely – musical comedy star.
Curtains isn’t a perfect musical comedy. There are incredible flaws, but I’m assuming that stems from the unfortunate fact that both bookwriter Peter Stone and lyricist Fred Ebb passed away while the musical was still in development. While John Kander continued the project, bringing Rupert Holmes on board to finish. The story is a murder mystery set at the Colonial Theatre during the out of town tryout of a 1959 musical. The leading lady, who is atrocious, is killed during her curtain call and everyone in the company is kept in the theatre while the affable Detective Cioffi, a big theatrephile alternately solves the crime and helps turn the show into a hit. There is a great deal of charm and heart to the show, which is probably why I admired it. The book’s structure could have used some work, especially the first twenty minutes or so. Also, there were issues to be had with some of the lyrics – mostly in the show-within-a-show’s songs. In particular, the big production number “Thataway,” the word “bitch” or the lyrics “what’s that stirring in my pants” are two lyrics that would never have been considered for a stage musical, especially in 1959 Boston (where things were too often banned for being too salacious). (It has to be Rupert Holmes contribution as Kander and Ebb would have been aware of what would fly and what wouldn’t).
David Hyde Pierce provided the lone upset at the 2007 Tony awards with his win over Raul Esparza (much to the chagrin of many Company enthusiasts). Truth be told, I enjoy a good upset, so it made me almost hit the floor when Bernadette Peters shouted out his name as the winner. You could also tell that he was just equally shocked through his extraordinarily gracious and humble acceptance. His performance was stellar; a musical comedy turn that was funny, offbeat and surprisingly touching. Plus, he had one of the most convincing Boston accents I’ve ever heard. Karen Ziemba was everything I wanted her to be and more – a winning performer giving her all. And at 50, she shows no signs of slowing down or aging. Seriously, the woman looks like she’s in her late 30s, early 40s. And dances like she’s 20. “Thataway” stopped the show. Debra Monk was out, but Patty Goble was on, giving a strong performance as the ballsy producer Carmen Bernstein, reminiscent of a broad Andrea Martin. Jason Danieley’s tenor soared on the lovely “I Miss the Music.” Noah Racey and Megan Sikora were superlative dancers. Edward Hibbert got the best lines and the most laughs from his wry lines as the flamboyantly acerbic British director. Erin Davie has yet to shirk off her Little Edie-isms, and that distracted from her performance. I think out of the score, the only song that felt like a total dud was “The Woman’s Dead.” It wasn’t funny, it didn’t work and only provided amusement in conductor David Loud’s reprise “The Man is Dead” at the top of the second act. Aside from that, “Show People,” “Music,” “It’s a Business” – it was a tuneful musical comedy score. I haven’t been able to get the infectious melody for “Thataway” out of my head.
The production was solid. Great orchestrations, clever choreography and good staging. I couldn’t help but be reminded of Destry Rides Again when looking at the scenes from Robbin’ Hood. (A western musical on Broadway in 1959, yeah, it was bound to happen). It felt like I was watching a Golden Age show. Not necessarily one of the top-tier, but a solid B musical. For a contemporary musical comedy it was especially wonderful in that it wasn’t overtly tongue in cheek or self-referential, which has become the norm these days. It wasn’t perfect, I readily admit that. But if it provides a genuine, grin-inducing, feel-good experience, who cares? After leaving the Al Hirschfeld Theatre (last time I was there it was the Martin Beck), I couldn’t help but be pleased that in a few years this show will reach the high school realm. For educational theatre, particularly on the high school level, it will provide a great male lead for those unlikely to be considered for similar roles in classic titles. The show closes this coming Sunday, so hurry if you can.
While I didn’t make any acquaintances at the Hirschfeld, on the train ride home, I encountered an elderly couple that had attended Chicago. The cue was “I hear Gypsy is excellent.” Of course I had to corroborate their source. It led to an engaging conversation that lasted for the entire train ride. Again, the common bond was the love of the theatre. The husband recalled his first Broadway experience, which was the original production of The Diary of Anne Frank with Joseph Schildkraut. The wife immediately one-upped him by recounting her experience seeing The King and I with Gertrude Lawrence. She even went on to tell how the night she went, the Queen of the Netherlands was in attendance, making it all the more special for her. When I mentioned that I wished I was there, she told me ‘You’re young. When you’re older, you’ll hear the same thing from the younger generations when you tell them you’re story. It evolves like that and that is part of what makes it so special.”
And I think with those sage words, I bid you a good night!