Author: Chris Van Patten

My Fair Kelli

This weekend’s issue of Parade magazine features an article by Kevin Sessums about the darling of the NY stage, Ms. Kelli O’Hara. It’s becoming quite clear that O’Hara is on her way to musical theatre stardom with her Tony nominated turns in The Light in the Piazza, The Pajama Game, and currently the smash-hit Lincoln Center revival of South Pacific. Well, aside from being delightful, charming and gracious, the actress discusses future prospects, such as her desire to be a mother and well, let me just quote the article here:

“But the buzz is that producers are competing to put together a full-fledged production of My Fair Lady centered around her recreating yet another iconic role: Eliza Doolittle.”

Out of many of the classic musical theatre roles, I feel that Eliza is the pitch-perfect role for this versatile singing actress. She already played the part last year to considerable acclaim in concert with the NY Philharmonic, and would be most ideal in a full-scale revival – moreso than other current soprano on the boards. I would go so far as to think that this could be the show that potentially nets her the coveted Tony award she so richly deserves. (Her Tony experience is starting to remind me of Kate Winslet at the Oscars – stellar performance, but just not her year).
The last time My Fair Lady, one of the sturdiest pillars of the Golden Age canon, was revived on Broadway was fifteen years ago in a Weissler-produced production at the Virginia (now August Wilson) that starred Richard Chamberlain and Melissa Errico and closed after 165 performances.

I feel that the musical should be given its due – the 50th anniversary came and went without much fanfare and from what I understand, NY producers are wary of the Cameron Mackintosh production due to its incredible size and expense. Frankly, I would prefer that the show be given the respect it deserves, with a full-scale revival utlitizing the original orchestrations by my friend and yours, Robert Russell Bennett. (Which our friends at Lincoln Center could do…) Also, I don’t like when people feel the need to tamper with the book. Take for instance the recent Mackintosh revival that played in London for two years and on tour in the US. The original climax of act one is when Higgins unexpectedly dances Eliza into the arms of Zoltan Karpathy, the ultimate gamble, as Karpathy’s expertise will prove whether or not Higgins and Pickering succeeded. (Case in point, your act finale leaves the audience hanging as to what will happen in order to bring them back for the second half). It is not when she leaves for the ball – in fact, it’s rather anticlimactic to have her go to the ball, break for interval, then come back for a ball scene. It would make more sense just to cut the “Embassy Waltz” than bastardize Lerner’s near-perfect libretto. And in my Dismounting the soap-box…

Now kids, who would you like to see in a revival opposite O’Hara? We’ve got a Higgins, Pickering, Freddy, Mrs. Pearce and Mrs. Higgins to fill. Aaaaaand go…

Hodge Podge

It was announced today that joining Stockard Channing and Christian Hoff in the Roundabout revival of Pal Joey would be none other than that songbird of the stage Martha Plimpton. Wait. Martha Plimpton? Martha “I Hate Mouth” Plimpton from The Goonies is going to be in a musical? I’m not thinking that it won’t be interesting – I just renewed my Roundabout subscription (with a free upgrade to center row A mezz seats) for the coming year, but you gotta admit, it’s a tad bit surprising. However, I think Plimpton will provide an amusing interpretation of Gladys Bumps. What worries me more is that Richard Greenberg has revised the libretto, changing characters and through-lines, and reassigning songs. For instance, Plimpton’s Gladys is going to be delivering “Zip,” the cameo show-stopper for the wise-cracking Melba that Elaine Stritch revisited in At Liberty. However, I’m thinking the script revisal is more of an excuse for Roundabout to commission the inevitable “new” orchestration that will feature a piano, a violin and a kazoo.

Cry-Baby was the first Tony casualty. The show ends its brief run at the Marquis Theatre this Sunday, June 22 after 45 previews and 68 performances. After seeing the lifeless production number with the license plates, I’m not surprised…

Well, it seems that Delta Burke’s – or rather – Faith Prince’s (oops! my bad) pitch-wary performance on the Tony awards didn’t help A Catered Affair’s advance. The show, in spite of its addition of a Thursday matinee for the middle-aged female crowd who has reportedly taken to the piece, will end its run at the Walter Kerr on July 27 after 27 previews and 117 performances. My first thought is, “Wow, Matt Cavenaugh is going to experience some major deja vu.” (As Grey Gardens closed the same weekend at the same theatre last year). That’s gotta be a weird experience for an actor, you know?

There will never be a dancer who epitomized beauty, elegance and poetry in motion like Cyd Charisse. When the world lost her this week at the age of 86, another glorious legend was lost to all but our cinematic conscious. Do yourself a favor – watch The Band Wagon or It’s Always Fair Weather or Silk Stockings or rewatch Singin’ in the Rain for her cameo in the “Broadway Melody” sequence. She was one of a kind – and when she dances, it’s ethereal. If it’s got Cyd, it’s got class. Charisse realized her dream of appearing on Broadway in the early 90s when she assumed the role of Elizaveta Grushinskaya, the aging ballerina in Grand Hotel. She is survived by her husband Tony Martin – yes the MGM musical star, to whom she was married for sixty years. He is currently 95 and still performing. She is also survived by her two sons and her niece Zan, who is most noted for her turn as Louise opposite Angela Lansbury in her London and Broadway productions of Gypsy.

Quote of the Day

“In the 29 years since I won my last Tony [for Evita], I’ve worked with a lot of incredible people, and I wanted to thank all of them. I actually don’t even know where the old speeches are. I have to say, if I had lost this award, I would’ve been disappointed, but like with the others, I would have gotten over it. But with this part, because it’s so much better than any other part in a musical, if you lose the Tony, maybe you feel like you just didn’t do a good job or people don’t like you.”

– Patti LuPone to theatremania.com on winning Sunday night

"Flower Drum Song" – Original Cast

Wouldn’t it be nice to get a show that would showcase the musical theatre like this? Just think of it, a complete medley. Narrated by the late Miyoshi Umeki, the original cast traipses through several of the big numbers. More charm in this brief video clip than the entire bloated film adaptation or the 2002 revisal. Umeki is a delight, even her goof is charming. Ed Kenney and Juanita Hall sing “You Are Beautiful.” Pat Suzuki sings “I Enjoy Being a Girl. ” Arabella Hong delivers “Love, Look Away.” Suzuki and the very Asian Larry Blyden present the eleven o’clock number “Sunday” complete with Carol Haney’s original choreography. The entire dance break isn’t present on the Original Broadway Cast Recording, but is on the London recording, which is now out of print, but an interesting supplement for the additional dance material. Notice how the Fosse shoulders appear to have made their way into Rodgers & Hammerstein.

I’m currently reading the original novel by C.Y. Lee, which is fascinating. It’s a brisk, easy read. Quite fascinating to see how the creators adapted it for a stage musical. By the way, how awkward is Ed Sullivan with those twin girls?

Where in the World Was Stephen Joshua Sondheim?

The man of the hour was notably absent during the telecast in which he received a lifetime achievement Tony. Instead, Mandy Patinkin showed up in Steve’s beard and proceeded to frighten all the kiddies (and read a very classy and gracious letter that cited all of his book writers through the years).

Well, according to Michael Riedel,

“Sondheim wasn’t at the Tonys because he was traipsing through Europe.

I hear he found out about the award only when it was announced in the press. Nobody from the Tonys bothered to tell him beforehand, so he didn’t change his travel plans. “

"Bricktop – Queen of the Night"

As per IMDb:

Star Wars creator George Lucas is planning to lend his directorial talents to a Broadway musical with the help of comedienne Whoopi Goldberg, according to reports.

Goldberg, who has made a number of appearances on the New York stage, is talking to Lucas‘ motion picture and visual effects company Industrial Light and Magic about a collaboration on musical Bricktop – Queen of the Night, reports the New York Daily News.

The musical centres around a fabled Parisian cabaret owner Ada ‘Bricktop’ Smith.

A source tells the newspaper, “They’re talking about playing with Cubist images and jazz from the (1920’s),” adding that Lucas “could do things Broadway has never seen before.”

Does anyone remember the last time an iconic film director with little to no stage experience helmed a stage musical…? Hmm… I’m seem to recall reading about Martin Scorsese being a fish out of water for The Act. Any others…?