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The Great American Musical Returns!

Patti LuPone officially returns to Broadway tonight in the latest revival of the musical Gypsy playing the St. James Theatre. As we are well aware, this is a transfer from the Encores! Summer Series concert that played the City Center last July. The production has transferred, company and all. (Save for Nancy Opel, who is currently starring in the national tour of The Drowsy Chaperone. Lenora Nemetz returns to the Great White Way after an extended absence as Mazeppa and LuPone’s stand-by).

La Môme

Though I was pulling for my personal favorite Julie Christie to win at this year’s Academy Awards, I was in no way disappointed in the selection of the gorgeous and talented French actress Marion Cotillard for her portrayal of Edith Piaf in La Vie en Rose. It’s a tad bit unusual as far as biopics are concerned as it doesn’t follow a solid through line. The film shows her life from early childhood to her death from liver cancer at the age of 47, but non-linear; almost a puzzle piecing together her past with her present. The film is extraordinary because of Cotillard and her magnanimous portrait of the famed chanteuse. As is the case with many Oscar winning performances from bio-pics (Reese Witherspoon’s overrated rendering of June Carter Cash a notable exception), there is a transformation at which you can do nothing but marvel. However, the prothesis aside (though seeing the frail and aged Piaf near death is jarring), Cotillard finds the humanity behind the legend, showing us that in spite of off-stage drama that colored her personality and aura, she was a passionate performer with an unending need to sing. (When she turns to her friend on her deathbed and knowingly asks “I’m never going to sing again, am I?” you are absolutely heart-broken). I do have to comment on Cotillard’s physicality. She has every gesture from the posture to the “singing through the hands” trademark down pat. I also wanted to comment: Edith Piaf was 4’8″. Marion Cotillard is about 5’7″ though you’d never know it from watching the film; she’s that convincing.

I didn’t know that much about Piaf prior to seeing the film, but have become fascinated. She is, in essence, the French Judy Garland (or was Garland the American Piaf?) She lived a torturous and brief existence, booze soaked and drug addled, mixing a powerful mezzo belt with the fire and intensity of an artist’s soul. The daughter of a street singer and an acrobat, she spent several years of her childhood being raised in her grandmother’s brothel. (A fascinating sequence; also, Piaf was struck blind due to infection, the religious prostitutes raised money to send her on a Pilgrimage to St. Thérèse de Lisieux). The superlatives applied to what will become Cotillard’s most famous role have all but exhausted the thesauri in the world. You’ve read the reviews and I won’t add to them. The accolades and awards are deserved; and Marion is a treasure to behold. Taking us through the dimensional world of a struggling insecure artist who’s temper and alcoholism are juxtaposed with moments of such vulnerability that all you want to do is hug Piaf. (It is during these moments where I feel Cotillard is channeling Giuletta Masina’s Gelsomina from La Strada, which is an extraordinary achievement that lesser actors couldn’t begin to fathom). The film, though doesn’t end just with her death, it is interspersed with her world-premiere performance of another signature song “Non, je ne regrette rien” (which translated means “No, I regret nothing”). Superb.

Trivia for the musical fans out there, Piaf’s close friend and composer Marguerite Monnot (played in the film by Marie-Armelle Deguy) who wrote the music for many of Piaf’s major pieces (most notably “Hymne à L’Amour,” with lyric by Piaf) became world-famous as the composer of the delightful musical comedy Irma La Douce which, composed in 1956, became the first French musical since the operettas of Offenbach to achieve world-wide popularity.

See the movie. Rejoice in the music. Marvel at Marion Cotillard.

Dorothy Loudon: An Appreciation

The American musical had a bright spot with this fearless comedienne-actress who could have you howling with laughter one moment and crying your eyes out the next. (Case in point; look at her signature roles – Miss Hannigan in Annie and Bea in Ballroom. About as night and day as you could imagine). Dorothy Loudon managed to survive a string of early flops: the prophetically titled Nowhere to Go But Up that lasted two weeks, The Fig Leaves Are Falling which ran a whopping four performances (yet garnered Loudon her first Tony nomination). She was the best thing about Lolita, My Love a decent if ill-advised adaptation of Nabokov’s novel, which opened and closed out of town in Boston. There is a recording of her performing the showstopping “Sur Le Quais”, a Gallic romp for Charlotte Haze in the middle of the first act. After playing Edith in a short-lived revival of The Women in 1973 (opposite Kim Hunter, Alexis Smith, Rhonda Fleming and Myrna Loy), she spent the mid-70s touring. Mike Nichols personally asked her to audition for the role of Miss Hannigan in Annie and took a supporting role and made it a star turn, triumphing at the the 1977 Tony awards over co-star Andrea McArdle. The success of Annie brought Michael Bennett and Ballroom calling. Though the show was a failure, her performance was highly lauded and the only thing that prevented her from winning the Tony was the juggernaut of Sweeney Todd and Angela Lansbury. Incidentally enough, her next job would be replacing Angela in Sweeney. She played opposite Katharine Hepburn in The West Side Waltz, took on Patricia Routledge’s role of Dotty Otley in the Broadway premiere of Noises Off and was one of Jerry’s Girls. One song that she got to sing in the latter was the highly irreverent and politically incorrect “Have a Nice Day.” Cut from La Cage Aux Folles early in its Boston previews, the song was an expression of a character’s bigotry, with a lyrical punchline so offensive that only someone of Loudon’s ability could make it funny. She rarely appeared on film, but made an impression as Carol Burnett’s replace on The Garry Moore Show in the ’60s and was a perennial favorite at the Tony awards. She also was featured on many Ben Bagley recordings, as well as many cast recordings and compilation albums produced by Bruce Kimmel in the 1990s. Loudon’s final appearance on Broadway was in the first preview of the Lincoln Center revival of Dinner at Eight. Due to her failing health, was forced to withdraw and Marian Seldes stepped in. She died in November 2003 at the age of 70, losing her battle with cancer. The following May, at the Theatre World awards, she received a tribute in the closing of the ceremony by Peter Filichia, which prompted a spontaneous full-house standing ovation in her memory. (I was there). One of the great disappointments in my theatre-going career is having missed out on the opportunity to see her perform live. Enjoy these two clips of her bringing down the house. The first is her performance at Sondheim – A Celebration at Carnegie Hall in 1992, where she puts a new spin on “Losing My Mind” and “You Drive a Person Crazy.” The second is much-talked about performance from the 1983 Tony awards. The evening was a celebration of George Gershwin, as the Uris Theatre became the Gershwin Theatre, and the line-up featured many stars performing various songs. Loudon had the choice task of performing this obscure little Gershwin number, “Vodka.” (I would post her “Fifty Percent” from the 1979 Tony awards, as it’s a devastating and captivating performance – when the Tony’s allowed performers to perform entire songs… but the youtube clip is of an inferior quality).

Dorothy Loudon: An Appreciation

The American musical had a bright spot with this fearless comedienne-actress who could have you howling with laughter one moment and crying your eyes out the next. (Case in point; look at her signature roles – Miss Hannigan in Annie and Bea in Ballroom. About as night and day as you could imagine). Loudon managed to survive a string of early flops: the prophetically titled Nowhere to Go But Up that lasted two weeks, The Fig Leaves Are Falling which ran a whopping four performances (yet garnered Loudon her first Tony nomination). She was the best thing about Lolita, My Love a decent if ill-advised adaptation of Nabokov’s novel, which opened and closed out of town in Boston. There is a recording of her performing the showstopping “Sur Le Quais”, a Gallic romp for Charlotte Haze in the middle of the first act. After playing Edith in a short-lived revival of The Women in 1973 (opposite Kim Hunter, Alexis Smith, Rhonda Fleming and Myrna Loy), she spent the mid-70s touring. Mike Nichols personally asked her to audition for the role of Miss Hannigan in Annie and took a supporting role and made it a star turn, triumphing at the the 1977 Tony awards over co-star Andrea McArdle. The success of Annie brought Michael Bennett and Ballroom calling. Though the show was a failure, her performance was highly lauded and the only thing that prevented her from winning the Tony was the juggernaut of Sweeney Todd and Angela Lansbury. Incidentally enough, her next job would be replacing Angela in Sweeney. She played opposite Katharine Hepburn in The West Side Waltz, took on Patricia Routledge’s role of Dotty Otley in the Broadway premiere of Noises Off and was one of Jerry’s Girls. One song that she got to sing in the latter was the highly irreverent and politically incorrect “Have a Nice Day.” Cut from La Cage Aux Folles early in its Boston previews, the song was an expression of a character’s bigotry, with a lyrical punchline so offensive that only someone of Loudon’s ability could make it funny. She rarely appeared on film, but made an impression as Carol Burnett’s replace on The Garry Moore Show in the ’60s and was a perennial favorite at the Tony awards. She also was featured on many Ben Bagley recordings, as well as many cast recordings and compilation albums produced by Bruce Kimmel in the 1990s. Loudon’s final appearance on Broadway was in the first preview of the Lincoln Center revival of Dinner at Eight. Due to her failing health, was forced to withdraw and Marian Seldes stepped in. She died in November 2003 at the age of 70, losing her battle with cancer. The following May, at the Theatre World awards, she received a tribute in the closing of the ceremony by Peter Filichia, which prompted a spontaneous full-house standing ovation in her memory. (I was there). One of the great disappointments in my theatre-going career is having missed out on the opportunity to see her perform live. Enjoy these two clips of her bringing down the house. The first is her performance at Sondheim – A Celebration at Carnegie Hall in 1992, where she puts a new spin on “Losing My Mind” and “You Drive a Person Crazy.” The second is much-talked about performance from the 1983 Tony awards. The evening was a celebration of George Gershwin, as the Uris Theatre became the Gershwin Theatre, and the line-up featured many stars performing various songs. Loudon had the choice task of performing this obscure little Gershwin number, “Vodka.” (I would post her “Fifty Percent” from the 1979 Tony awards, as it’s a devastating and captivating performance – when the Tony’s allowed performers to perform entire songs… but the youtube clip is of an inferior quality).

"The 39 Steps"… and a Birthday Tribute

Before the Oscars last Sunday, I jetted down to the city to take in the matinee of The 39 Steps as part of my Roundabout subscription. I should preface anything I have to say with the following: I am an enormous fan of Alfred Hitchcock. In fact, it’s easier for me to list his films I haven’t seen: Topaz, Marnie, Under Capricorn, The Paradine Case, Spellbound and Jamaica Inn. Don’t worry – I plan on getting to them in the near future. There are many of his films I love and only a couple that I dislike (Torn Curtain is my least favorite; even though as is the case with any lesser Hitchcock, there’s always something to be appreciated). I have been obsessed with him ever since I first caught a glimpse of the shower scene when I was 7 and it scared the bejesus out of me – imagine my horror when I was told only a few minutes later it was time to shower and get ready for bed. I’ve devoured his films, read a lot about them and just enjoy them on many levels. (And a lot of them are surprisingly hilarious. Take for instance Mr. & Mrs. Smith with Carole Lombard in Hitch’s sole screwball comedy; he uses his trademark styles to heighten the comedy and with hilarious results). I can only assume that the more you know Hitchcock, the more you’ll enjoy The 39 Steps.

Anyway, the film is one of Hitchcock’s early classics, released in 1935. I won’t give away much of the plot, as it’s a film that should be seen to be fully appreciated. Robert Donat stars as Richard Hannay, who is an early prototype for Hitchcock’s trademark “wrong man” protagonist. Anyway, there’s a murder; he’s wrongly implicated and gets involved in an espionage plot as he and only he can try and stop the agents from fleeing the country with valuable information. All the while, he is being chased from London into Scotland by the police. Episodic and plot-driven, the film is a tour-de-force for Donat, who is supported by Madeleine Carroll (the first Hitchcock blonde…?) and the always perfect Peggy Ashcroft in a small but crucial role as a Scottish housewife. There are twists and turns and chases across the moors; great one-liners from Donat and one of the sexiest scenes to get by the censors when he and Carroll are handcuffed together (whether or not you see the play or film, you’ll know the one I mean).

“I long for something mindless and trivial. Something utterly pointless…I know! I’ll go to the theater!!”

So Mr. Hannay decides in his opening monologue. You already know that this fateful decision is going to incite a slew of mystery and intrigue. But who knew slapstick comedy was going to be a part of the equation? This stage adaptation opened in London last season, winning the Olivier for Best New Comedy. In an incredible feat of unending creativity, the film is recreated onstage. The catch? There are four actors: one playing Hannay (the spot-on Charles Edwards, who originated the part in London; the lone actress (Jennifer Ferrin) playing the three pivotal female roles and two actors (Arnie Burton and Cliff Saunders) playing EVERYONE ELSE, in a feat that is so audacious and clever, there aren’t enough superlatives to praise the actor’s hard work.

For a film that is as much a travelogue of Scotland as well as thriller, its staging is devilish fun. The proceedings keep things to a minimum with a lot of fun theatrical tricks and clever use of minimalist scenery (and props) to recreate large panoramic scenes (like the Moor chase) and even the uncanny and hilarious ability to recreate the many crowd scenes in the film (the moment where Hannay joins a parade to escape the police brought down the house). The show uses the wit of the screenplay to their best advantage, adding indelible low-comedy that will leave you breathless from excessive laughter. Watch Burton and Saunders as they portray about five characters having separate exchanges all at the same time. My favorite was their recreation of the famed hotel scene where the spies encounter the proprietor and wife. Nothing short of genius on their part.

There are also musical and textual references to other Hitchcock films, many of the music cues getting huge applause and a lot of strangely enjoyable groan-inducing puns (the music hall and vaudeville tradition put to use was welcomed wholeheartedly by the audience). The play flies by; each act is 45 minutes and is a decidedly engaging mix of absurdist parody and low-brow comedy. (Think of say, Airplane! as opposed to Spy Hard). My only qualm to the powers that be – it would be even better if the show ran without an intermission. You don’t have to have seen the film to enjoy the play, but what the hell, it enhances one’s appreciation for Mr. Hitchcock and I still find it quite good 73 years removed. It’s worth of the price of admission alone to see the two supporting actors do their thing; I’m still reeling from their performances.

Oh, and for the curious, Mr. Hitchcock has a cameo. I won’t tell you where or how, but it too stopped the show.

Before I sign off for the night, just wanted to wish the ever-youthful and ever-beautiful Bernadette Peters a happy 60th birthday. That is not a misprint. The beloved diva is reaching her milestone birthday looking nowhere near her age. Hopefully you all put on your favorite BP album (what did you listen to, I’m curious? I listened to Sunday in the Park With George) and take a glass to celebrate. This raises an important question: when is Bernadette coming back to Broadway and in what star vehicle? (Whatever the answer, it’s not soon enough).

Some thoughts on the Oscars

The 80th annual Academy Awards went on. After being threatened for weeks by the strike, it was resolved and all ended well and the awards happened and here are some thoughts so I can end this ridiculous run on sentence before I completely lose my mind.

– Jon Stewart was, I thought, an amusing host. Much more comfortable and relaxed than the last time – and much funnier. Apparently not everyone agrees with me. Oh well. Did miss the best bit from his last time: the political smear ads among the acting nominees (“Judi Dench took my eye out in a bar fight.” Anyone?) which would have been ever so appropriate this year of all years. The lines about the strike (the Vanity Fair line is brilliant) and the upcoming election were spot on. For the record: My favorite line of his, one that reduced us to pure hysteria: “Normally when you see a black man or a woman president, an asteroid is about to hit the Statue of Liberty.”

– Tilda Swinton provided an amusing upset over my beloved Cate Blanchett (who can really do no wrong and whom I adore). However, this was an incredibly strong category, and one that was pretty much impossible to peg, so I have bear no ill-will. Swinton’s stellar restrained work in Michael Clayton is a master class in finding nuance and character in what otherwise would have been a complete caricature of a shrewy harridan. Her speech is one of the most offbeat and amusing I have ever heard in my life. (If you thought her Hefty-bag themed dress was atrocious, Youtube her recent BAFTA win to see the garish insect costume she wore to that event…) Horrid styles aside, she seems like quite the amusing personality.

– Javier Bardem was incredibly classy – and also completely terrifying and fascinating in No Country. He’s also going to be Guido Contini in the upcoming film adaptation of Nine; with Marion Cotillard as Luisa.

– The Coen brothers win for Best Adapted Screenplay for No Country for Old Men. I immediately get a phone call telling me I am on TV (in the personage of Ethan Coen). For the record, my brother Patrick is more of a dead ringer than I. But I’ll take it (and the Oscar too, thank you).

– Marion Cotillard wins for Best Actress over my beloved Julie Christie. Not quite the upset that some would make it out to be. But I have never seen an actor more relieved not to win than Christie. As the announcement comes closer you can see her getting insular and practically shrinking. They announce Cotillard and there is this moment where she kind of feels like a weight has been lifted and then goes completely nuts applauding Marion’s win. Have I mentioned, I adore Julie Christie in practically every way? Possibly the most fascinating and coolest movie star that ever lived. Cate Blanchett, nominated for being awesome in a crapfest, looks like she was about to jump out of her seat to give her a hug, she was so ecstatic. Gotta love those British actors; not only do they deliver the goods, they certainly keep it real. It’s the first time a French performance has been awarded an acting Oscar; and the first foreign language victory in this category since Sophia Loren made Two Women in 1961. My other question: why did they present this one so early? They would have done better to get predictable Best Actor out of the way and let us have some surprise toward the end.

– Note how each song from Enchanted fell flat. Amy Adams showed up, but apparently the set and a concept didn’t. It felt like watching a stellar actress at work in an acting studio. Kristin Chenoweth phoned in on hers and I wish they got someone who could sing for the third song. Really pitiful presentation on all parts.

– “Falling Slowly” was beautifully performed by Glen Hansard and Marketa Irglova. Once may be my favorite film of 2007 and quite possibly a contender for my all-time favorite list. “Falling Slowly” is a lovely song and very affecting, but it’s even more emotionally stirring when seen in context. I was so thrilled when they won, possibly my favorite category of the evening. Then to top it off the Oscars took an unprecedented step and allowed Marketa, who was cut off just as she was about to open her mouth, to come out and have her say. (Classy move, Oscar, classy move). Two beautiful and humble speeches by two of my new favorite people. See Once. Stewart had one of the best quips of the night with “Wow, that guy is so arrogant!” following Glen’s half of the acceptance.

– Did no one tell Katherine Heigl you should never apologize for being nervous before you do anything in show business, ever? She was a total wreck, and we were all the more obvious because she blatantly pointed it out first. Doubt we’ll be seeing her try live theatre any time soon…. and we’re probably the better for it.

– I could listen to Daniel Day-Lewis speak all day. He is one of the most articulate actors I have ever heard in my life. He also has one of the most staggeringly extensive vocabularies of anyone I’ve heard speak in my life. His performance in There Will Be Blood is one of the most mesmerizing star turns I’ve seen in a film in years. Though I hear he’s fearfully method, I wish he would act more. I guess a return to the stage is out of order. But I was amused to read he cobbles in his free time.

– I’ve realized with time that I really hated Atonement. The more I think about it the more I dislike it. Though, the score was admittedly creative, with all that unique type-writer in the orchestration. Glad it didn’t win anything else (even costumes). One stand-out green dress doesn’t mean the entire thing should be awarded; I was rooting for Sweeney Todd or La Vie en Rose. I was surprised that they awarded it to Elizabeth: The Golden Age especially since no one seemed to like it.

– Enjoyed Steve Carell and Anne Hathaway presenting. In fact seeing the two of them play off each other so well makes me just a little more excited for the upcoming Get Smart (damn you marketing experts!) I thought the Adapted Screenplay exchange between Josh Brolin and James McAvoy was highly amusing.

– Anyone notice that Charles Lane and Brad Renfro were absent from the “In Memorium.” Lane was a reliable character actor; normally called on to play a heavy of sorts, almost always a walk-on or minor supporting bit, yet always memorable. Born in 1902, he made his film debut in an uncredited role in 1931. He worked for decades, dying last year at the age of 102. Many of his film appearances include the Best Picture winner of 1938 You Can’t Take it With You (as the frustrated IRS man), Mr. Smith Goes to Washington, Ball of Fire, It’s a Wonderful Life, State of the Union, The Music Man, and many others. A friend of Lucille Ball, he appeared in guest spots on her three hit sitcoms, and is probably best known on TV as the scheming Homer Bedloe on Petticoat Junction. He was also a founding member of the television academy, the Screen Actor’s Guild and when awarded by TV Land on his hundredth birthday, he announced to the crowd “I’m still available.” His last credit was narration for the 2006 short The Night Before Christmas. I think a 75 year career as a reliable and recognizable actor is worthy of a few seconds of time. (Yet they had time for agents? Did any of us know who they were? Or, all due respect, care?). In the case of Mr. Renfro, he was a more recognizable actor and his story was much sadder and more short-lived. People are actually quite up in arms over his omission. The Academy’s excuse that “they didn’t have time for everyone” is rather weak.

– Helen Mirren has a body that most of the twenty-something actresses at the Oscars would kill for. She is 62 1/2 years old – and possibly the sexiest senior citizen on the planet.

– Why was Marion Cotillard (who is quite gorgeous) dressed like a rejected chorine from The Little Mermaid?

– Was I the only who missed the living winners tableau they do every five years on a major anniversary? (For the 75th, they had Olivia de Havilland introduce the brief yearbook moment to a stirring standing ovation. I miss some of that old school glamour in these awards).

Anything I missed…?

Dennis Letts

At the opening night of August: Osage County, I had the privilege of seeing many Chicago-based actors making their Broadway debuts. One of these actors was Dennis Letts, who played the brief but pivotal role of Beverly Weston in the play’s prologue. Letts, the father of the play’s author Tracy Letts, succumbed to lung cancer yesterday, February 24, at the age of 73. He had been diagnosed in August of 2007 after the Steppenwolf run of August had ended, but in spite of his ill health and poor prognosis he insisted on continuing with the show. Incredibly reminiscent of Kathleen Freeman, who was dying of cancer during her run in The Full Monty (and left the show only a week before her death in August 2001), Mr. Letts continued to work for as long as he could without giving any indication of being in such poor health (he left the show in late January). Letts is survived by his wife, author Billie Letts and his sons, as well as a considerable body of work as a character actor in film and television.