Jonathan Tunick – Theatre Aficionado at Large

Two Rarities from Masterworks Broadway

Masterworks Broadway is the gift that keeps on giving. There have been so many interesting releases and reissues that it’s been almost dizzying to try and keep up. Their output is consistent and excellent, offering titles as contemporary as Kinky Boots, but also long-unavailable recordings from the Columbia/RCA vaults. The latest batch of releases include the film soundtrack of A Little Night Music and the uber-rare Seven Come Eleven, with the original London cast album of Cowardy Custard (featuring Patricia Routledge) scheduled for release next month.

While the stage version of A Little Night Music is one of the most enchanting musicals ever written, its 1977 film adaptation is a curious misfire. The disappointment of the film is somewhat surprising given that most of the original Broadway production’s creative team worked on the adaptation. Also retained were original cast members Len Cariou, Hermione Gingold and Laurence Guittard. Taking on the lead role of the one and only Desiree Armfeldt is an out-of-her-element Elizabeth Taylor, who is much easier to watch when her character isn’t singing. The most notable and worthy addition to the film cast was the brilliant Diana Rigg, who is excellent as Charlotte.

While it isn’t the worst adaptation of a stage musical ever put to film, it certainly ranks near the bottom of the list. The setting was moved from Sweden to Austria, with several characters receiving new names. Several songs, including “Liaisons,” “In Praise of Women,” and “The Miller’s Son” were cut. There was no quintet, and all their pieces were dropped. Harold Prince, a titanic producer and director for the stage, didn’t fare as well in the movies, with Night Music his second and last film to date.

However, the soundtrack makes for an interesting listen, if only to hear how Sondheim adapted himself for the screen. He turned “The Glamorous Life” into a staggering solo for Desiree’s daughter, Fredrika. This soliloquy has become a favorite of Sondheim interpreters, most notably Audra McDonald, who included it on her recent solo album. Another notable change is the evolution of the sublime instrumental “Night Waltz” into the song “Love Takes Time,” performed by the main characters during the opening of the film. “Now/Later/Soon” has been abridged and is instead “Now/Soon/Later,” while there are new lyrics for “A Weekend in the Country,” which gives the woefully underused Gingold an opportunity to sing a few bars. (For what it’s worth, Jonathan Tunick won the Oscar for Best Score: Adaptation for his contributions).

This new release doesn’t supplant the sublime original Broadway or worthy original London cast recordings by any means, but is more worthy of your time than the leaden 2009 revival recording. Bonus tracks include the previously unreleased extended version of “Every Day a Little Death” used in the film, “Night Waltz,” and the end credits.

I hope this means that the film soundtrack for 1776 is not far behind, essential as the only recording of Howard Da Silva’s performance as Ben Franklin, as well as the opportunity for Virginia Vestoff’s “Compliments” (one of the great moments in musical theatre) to be made available.

Seven Come Eleven was the 1961 installment of Julius Monk’s popular Upstairs at the Downstairs nightclub series. Monk’s cabaret revues were the epitome of New York sophistication, with topical yet gentle satires of pop culture and current events performed in an elegant environment by elegantly attired performers. There are numbers dedicated to First Lady Jackie Kennedy, the John Birch Society, and the Peace Corps, among others. Steve Roland scores with the Gilbert and Sullivan patter parody “Captain of the Pinafores.” Best of all is young Mary Louise Wilson, unbelievably funny in her major solo “Forbidden Tropics,” about scandalous literature, as well as her sketch “Don’t You Feel Naked Not Drinking?” opposite Rex Robbins. It makes for a pleasant listen filled with witty lyrics and playful music, but the album is definitely a capsule of a bygone era.

Show Round-Up

Annie – I caught an early preview of the classic Strouse-Charnin musical at the Palace. I have a dubious history with this one; the last time I saw it onstage was 21 years ago and while I don’t remember much, I wanted Hannigan to win. Fortunately that was not the case in this new production directed by James Lapine and choreographed by Andy Blankenbuehler. Katie Finneran holds nothing back as Miss Hannigan, but the performance hadn’t quite gelled when I saw the show, and it didn’t help that her Rooster and Lily are barely there (and what’s up with Lily’s accent? Not cool, kids). Lilla Crawford has great sincerity and a clarion voice that brought down the house repeatedly, but her accent gets in the way. Merwin Foard, a reliable standby in so many recent productions, is finally onstage and a total delight as FDR. The real standout, though, is Australian baritone Anthony Warlow, whose sumptuous baritone is the 8th wonder of the world. His “Something Was Missing” stopped the show cold in act two. I was mixed on the set, though I loved the chandelier/Christmas tree effect. The choreography is, to put it mildly, terrible. Only the final number really had cohesion, and it was still a hot mess. Quibbles aside, the show is a charmer, thanks to its score and the sharp libretto by Thomas Meehan.

The Performers – I caught a late preview of this fast flop, which was entertaining but tremendously slight. There was no real conflict, mostly a non-porn couple who inexplicably question their monogamy while visiting Las Vegas for an adult film industry awards show. The play is rife with enough raunchy dialogue to make your great-grandmother’s monocle pop, but ultimately feels…tame. That said I found much to enjoy, and much to laugh at. Props to the terrific ensemble led by Alicia Silverstone, Henry Winkler and Cheyenne Jackson. However, the real star of the evening was Ari Graynor as Peeps, a dim, defensive porn star with a heart of gold. Everything she said or did went over like fireworks on the 4th of July, and a performance I am glad I had the opportunity to see. The play’s closure after 7 performances was a bit of a shock, as I’ve seen far worse enterprises run longer. While I don’t think it’s much of a play, I think the script could make for a more enjoyable film.

Giant – Edna Ferber’s novel is now a musical, in a sprawling retelling of the story of a Texas cattle baron and his decades long marriage to a Virginia socialite. This bold, ambitious piece is currently playing the Public Theater and while it could use some tinkering and fine-tuning, it’s a thrilling experience. Michael John LaChiusa’s music is haunting and often soars. The show has a cast of 22, and an orchestra of 16 – rare for an off-Broadway production. Brian D’Arcy James is excellent as Bick Benedict, a cattle baron whose unconditional love for Texas is challenged by a changing world. Kate Baldwin is giving the the performance of a career as his wife Leslie. John Dossett provides brilliant, sympathetic support as Uncle Bawley, while Michelle Pawk brings gruff pragmatism to Bick’s older sister Luz. Katie Thompson is a find as Vashti Hake, a ranch heiress jilted by Bick who becomes one of Leslie’s closest friends. Thompson can really sing, and deserves to be a leading lady herself. The character of Jett Rink lacks definition and as written barely registers as an antagonist (played by a game P.J. Griffith). For a show set in and about Texas, the musical feels somewhat cramped on the Newman stage. A show of this scope cries out for a venue like the Vivian Beaumont.

20 years of Encores! A Gala Celebration – This 90 minute program featuring many of Broadway’s finest talents performing under the music direction of both Rob Berman and original Encores! musical director Rob Fisher. Kelli O’Hara opened with “It’s a Perfect Relationship” from Bells Are Ringing, but her highlight was a sumptuous rendition of “Lover, Come Back to Me” from The New Moon. Raul Esparza revisited “Everybody Says Don’t” from Anyone Can Whistle and cut it up big time with the tongue twisting “Tchaikowsky” from Lady in the Dark. Rob McClure was charm squared leading “Once in Love with Amy” (and yes, the audience sang along!) from Where’s Charley? Joel Grey did “Mr. Cellophane” from Chicago, Rebecca Luker, Sarah Uriarte Berry and Debbie Gravitte revisited their glorious “Sing for Your Supper” from The Boys from Syracuse. Other numbers came from Finian’s Rainbow, Too Many Girls, Fanny, Anyone Can Whistle, Do Re Mi, Juno, Lady in the Dark, Carnival and Gentlemen Prefer Blondes. Of special note was a middle section of found items, including “Where Do I Go From Here?” cut from Fiorello!, thrillingly sung by Victoria Clark. The most esoteric item on the bill was the overture for Nowhere to Go But Up, a nine performance bomb from 1962. Jack Viertel had asked Jonathan Tunick about whereabouts of its “the long-lost overture” during Merrily orchestra rehearsals. Turns out Tunick had it in his apartment. The evening ended with ‘Til Tomorrow from Fiorello! (which was the very first Encores! and will be revived this January). All musical numbers used the original arrangements and orchestrations. If there was a complaint it was that the evening ended too soon.

“Merrily We Roll Along” @ Encores!

In 1981, Merrily We Roll Along opened and closed quickly, a devastating failure that became one for the record books. The day after it shuttered, the cast and crew assembled in the recording studio laying down a cracker jack original cast album that has created a generation of ardent fans of the show and score. In 1985, Stephen Sondheim revisited the show with his new collaborator James Lapine, who subsequently revised George Furth’s book, creating a new version of the show that was to fix the problems with the original. As a result some songs have been dropped, some reshuffled and the narrative brought into better focus, musically.

This resulting revision was what the City Center Encores! performed for its first show in the 2012 season (Rodgers and Hammerstein’s Pipe Dream and Jule Styne and Leo Robin’s Gentlemen Prefer Blondes are still to come), giving New Yorkers a rare glimpse into this greatly loved, greatly flawed gem that has, unlike the messy but fun Anyone Can Whistle, proven to be a somewhat workable musical. For one thing, Sondheim’s score, which features “Old Friends,” “Good Thing Going,” and “Opening Doors,” is just spectacular, and is one of the best ever composed for a failed show.

It’s the book, loosely based on a Kaufman and Hart play of the same title, which moves backwards in time that lends itself to the most criticism. The musical starts in 1976 and works its way back to 1957 (originally 1955, more on that later), with vignettes filling in the narrative gaps established in the tense opening scene. One of the reasons the show is so fascinating is that the plot hinges almost entirely on dramatic irony for context, taking us from the cynical, jaded and embittered former friends to the young, idealists who met on a NYC rooftop the night of Sputnik. The narrative doesn’t quite satisfy, as it feels like a morality play without a clear moral. But what Sondheim and Furth (and Lapine by extension) created feels like a fascinating experiment in form and structure, and while it doesn’t quite all gel as I’d like it, I’m so glad they created it. (If the narrative unfolded traditionally, it would be insufferable).

The cast is absolutely superb. Colin Donnell brings leading man charisma, good looks and voice to Franklin Shepherd, the ambitious composer turned film producer. Lin-Manuel Miranda is captivating as his best friend, collaborator and conscience Charley Kringas, who delivers one of the score’s most fascinating numbers, “Franklin Shepherd, Inc.” which was an electrifying showstopper in Miranda’s hands. Rounding out the trip of friends is Celia Keenan-Bolger, whose incisive interpretation of Mary Flynn, the alcoholic writer with a torch for Frank, is a knock-out. Ms. Keenan-Bolger is at all times devastating and hilarious, dropping one liners with great humor and unyielding depth.

As Frank’s wives, Betsy Wolfe and Elizabeth Stanley are also quite impressive. Stanley, in particular, is an sensation as Gussie Carnegie, the secretary turned Broadway chorus girl turned star turned has-been (in reverse order). Wolfe has a less flashy role, but sings beautifully and makes an incredible impression with the score’s most famous number, “Not a Day Goes By.” Adam Grupper makes a great impression as the producer.

Lapine directed the production, creating a clear and polished staging that works quite well and smoothens some of the rougher edges of the book, though I could have lived without the projections. I doubt we’ll see a better Merrily for quite some time. I do wish that Lapine and Sondheim would go back and take another look at that final scene. The show ends with the stirring “Our Time,” but the lead-in dialogue is unsatisfying and the stakes not yet at a level to warrant the stirring anthem which closes the show. Originally the trio had known each other in high school, but now they meet in this rooftop scene. Now after some perfunctory dialogue, the writers have thrust these characters into an intimacy that is premature, ultimately stunting the emotional potential of the scene.

Another reason to rejoice: Jonathan Tunick was brought in to work on the orchestrations, combining his originals with the score’s revisions for the first time, created what is probably the definitive reading of the score. I only hope someone considers a cast album of this production, as we’re not likely to have it better any time soon.

“Follies” on Broadway

A timpani drumroll, a series of minor chords and then seemingly out of nowhere, a showgirl appears. This tall, lithe yet shadowy figure seems frozen in time and space, but as the music takes on a dreamlike quality, she starts to move. But slowly, ethereally; as if of another world. This is the first image of Follies and it seems that for the next two hours, I’m holding my breath in theatrical limbo. The evening is supposed to be a happy reunion of members of the Weismann Follies, but the stage of the dilapidated Weismann Theatre becomes an area for delusions to be exorcised, regrets to be revealed and for the uneasy acceptance that life doesn’t always turn out how we want it to.

Bold and beautiful, flawlessly flawed, Follies is a show with a cult following unlike any other musical I can think of (flops need not apply). The 1971 musical all but shocked audiences with its unsettling portrait of unhappy marriages and the disillusionment of middle age. There are ardent fans and ardent detractors, and it seems that whenever a production comes to NY, it becomes the talk of the town. Every song, character, line, production becomes the source of dissection and debate; comparisons abound. This marks the second time I have seen Follies live, and I realize that every time I have seen or will see the show, it will be at a different point of my life and that will inform my impact on my life. I have seen this production twice now: its first preview and its opening night.

The original Follies was a benchmark in grand production values and pushing the envelope of what a musical could be. Stephen Sondheim’s score has entered the upper echelon of musical theatre, with an astonishing mixture of pastiche and character numbers. James Goldman’s book, always a bone of contention for many, is like a surreal Altmanesque puzzle. There are characters roaming in and out, some performing their old numbers, while two main couples confront some unfinished business that has left their respective marriages unpleasant.

Bernadette Peters, while not ideal for Sally, offers a fascinating portrait of depression and mental illness. When she enters at the top of the show and timidly tells the waiter, “I’m so glad I came,” you’re not convinced she is. Sally is a tough sell, and always has been: she’s delusional, angry and disappointed at her life. She arrives at the reunion with one goal: to take Ben, for whom she’s held a torch for thirty years, from Phyllis. Peters starts the show in a darker place than anyone else who’s done the part. Jan Maxwell is a couth delight as Phyllis, brittle, sophisticated and yet the only one of the four who is willing to fight for the relationship. She’s less aloof than one usually expects in the role, but delivers exceptionally on the dialogue and especially in the searing “Could I Leave You?” Ron Raines lends his sonorous baritone to the emotionally stunted Ben. Standing out among this main quartet is Danny Burstein, a revelation as Buddy, Sally’s sad-sack husband. His pain and rage come to a head in “The Right Girl” and brings down the house with “Buddy’s Blues,” but even when he’s not speaking he’s saying oh so much. It’s a performance that will not soon be forgotten.

Starry support comes from grande dame Elaine Paige as Carlotta, strutting around the stage in a sexy blue dress and dropping one-liners like Mae West. Ms. Paige delivers the triumphant anthem “I’m Still Here” with an intensity that seethes with anger and defiance, scoring a mammoth showstopper. (One quibble about a lyric change in this particular song: I hate that Brenda Frazier has been replaced by Shirley Temple. The former is a pointed comment about the fleeting nature of fame, while the latter just feels like a cheap shot). Rosalind Elias, the former Metropolitan star is making a spectacular Broadway debut at 82 as Heidi Schiller, offering one of the evening’s most arresting showstoppers in “One More Kiss” (shared with Leah Horowitz).

Lots of old pros are on hand: Terri White, belting to the rafters and schooling the chorines in hoofing, leads the ladies in rousing “Who’s That Woman?” Susan Watson (on Broadway for the first time since No No Nanette), Don Correia, Mary Beth Peil and Jayne Houdyshell deliver a dynamite “Rain on the Roof/Ah Paree/Broadway Baby” montage. Florence Lacey and Colleen Fitzpatrick add color to ensemble.

Then there are the ghosts, the younger versions of the party-goers, showgirls who float in and out ethereally. Nick Verina has a baritone that perfectly complements Raines. Lora Lee Gayer has created a Young Sally who is uncannily similar to her older counterpart. Erin N. Moore makes quite an impression as Young Stella, as does Kiira Schmidt who practically steals “Buddy’s Blues” as Margie (wait for her slide!)

Eric Schaeffer’s direction is simple and too realistic, with a lot of moments placed in-one which tends to be a bit static. Some of his best work involves the ghosts, especially the moments where past and present intermingle or collide. Warren Carlyle’s choreography is stellar, if lacking in invention. “Who’s That Woman?” is a joyous showstopper but “The Story of Lucy and Jessie” doesn’t quite build as it should (though it’s better now than it was at the first preview). Gregg Barnes costumes are eye popping in their period detail and grandeur, contrasting well with Derek McLane’s eerie set. The literal unit set depicting the dilapidated stage is brilliant, but his Loveland motif is a bit underwhelming. McLane also deserves credit for effectively shrouding the gauche Marquis Theatre interior. Natasha Katz’s lighting design is sheer perfection. James Moore leads the dazzling 28 piece orchestra in Jonathan Tunick’s sublime original orchestrations, some of the most beautiful ever arranged for musical theatre. This alone is worth the price of admission.

The production would be better served if it was performed without an intermission: the tension organically simmers throughout the evening until it explodes into “Loveland.” Stopping for fifteen minutes kills that momentum. Also, it would be nice to see a production of Follies that actually uses the full original text. Various lines and pieces that have been excised add more layers to the characters, most especially several illuminating moments for Phyllis and Sally. But any quibbles I may have for this particular production are meaningless. Each time Follies reaches its sobering conclusion, I look forward to the next opportunity to see the show. The revival is currently scheduled as a limited engagement with a closing date of January 22. Whatever you do, do not miss it.

A Helluva Town

Here’s the round-up on all my recent adventures into NY…

Dividing the Estate 11/20 – I love an opening night show. Who doesn’t? You are there for the official first performance. Regardless of whether or not the show is a success, you were there for the performance that will put it into the annals of Broadway history books. Electric, starry and a chance to really dress it up too. The play, by Horton Foote, offers fascinating characters and intriguing ideas, but the result is rather middling. It felt more to me like a revival of a pre-Miller work, with its rather archaic plot machinations and contrivances. That’s not to belittle the ideas behind the work: those complicated familial associations with property and money that cloud all else. Stellar cast. Elizabeth Ashley is a hoot as the aging matriarch, Penny Fuller is the epitome of honesty in her performance (and she looks two decades younger than she is) and Hallie Foote (the playwright’s daughter and definitive interpreter) all but walks away with her study of avarice and solipcism. (Did her vocal inflection remind anyone else of Kim Stanley’s voice over narration at the beginning of To Kill a Mockingbird? Incidentally, Horton Foote won an Oscar for the screenplay). I don’t know if I’ve ever been so angry at a character, yet simultaneously in total admiration of the performance behind it. Not even the ladies who’ve played Violet Weston have had that effect. Gerald McRaney makes his Broadway debut as the ne’er-do-well brother (who drinks…) and Arthur French provides a memorable supporting turn as the ancient servant who refuses to retire. Comparisons to the titan August: Osage County are inevitable, but this is really as Noah put it, August lite. The opening crowd gave 92 year old Foote a standing ovation. Runs through January 4th at the Booth. Required viewing for the three leading ladies, but especially Ms. Foote.

On the Town 11/23 – The classic Broadway debut of Leonard Bernstein, Betty Comden and Adolph Green hasn’t fared well with time. The film version eliminated almost the entire score (far too sophisticated and raunchy for studio executives) and Broadway revisals in 1971 and 1998 were failures. Thanks to Encores! we got the chance to hear Bernstein’s first stage score as part of the innumerable festivities celebrating his 90th birthday. The show started with the National Anthem, a replication of the original 1944 production which opened during the last year of the Second World War (timely then, and sadly enough, timely now). Instantaneously, the entire audience stood. People started to sing a little bit, quietly to themselves, and infectiously more and more people started to join in with the volume increasing until the entire City Center audience was singing full volume for the final phrase. One of those beautiful communal moments that has such a beautiful effect on a person. As for the show: those orchestrations, those dance arrangements, those Comden and Green lyrics, their cartoonish but endearing book. All loads of musical comedy fun. Tony Yazbeck is a star on the rise: those looks, that voice and the sincerity of his acting. Did I mention he dances like an heir to Gene Kelly? (You know, why didn’t Roundabout cast him as Joey?) Christian Borle and Justin Bohon provided stellar support as Ozzie and Chip. Jennifer Laura Thompson is one hell of a funny soprano. Leslie Kritzer belted the hell out of the score, but her comedy was a bit forced. And then there was Andrea Martin, an absolute riot from start to finish as Madame Dilly, the perpetually soused instructor at Carnegie Hall who tore up the scenery in her few scenes (with her help, my beloved “Carnegie Hall Pavane” stopped the show). Roxie and I made our usual pilgrimage to the Park Cafe, but there was no sign of Rifke or Mireleh. Next up from the Encores! crew is a rare revival of Kern & Hammerstein’s Music in the Air in February.

Jonathan Tunick & Barbara Cook at Birdland 11/24 – This joyous evening came about thanks to Sarah, who had an extra ticket. I’d never been to Birdland and it turns out that it’s one of the most enjoyably intimate spaces I’ve ever been in. A total throwback to those nightclubs you see in the 40s and 50s movies. The only thing missing, the two of us agreed, was a dance floor. The prices are right and the food and drinks were fantastic. Tunick leads the Broadway Moonlighters, a fantastic brassy band made up of players from Broadway shows. They gave us a fantastic evening of entertainment with arrangements of “Strike Up the Band,” “Lazy Afternoon,” the overture for Merrily We Roll Along, two original pieces by Tunick “Buffet Luncheon” and “Pumpkin Lane” (which he named after an exit on the Taconic State Parkway). Midway through the set, they introduced their girl singer: Ms. Barbara Cook who sang a few choice favorites and this inestimable treasure provided us with a few vocal selections, including Gershwin’s “Nashville Nightingale,” “Sooner or Later” (not the Sondheim, but from Song of the South), and a lovely rendition of “Autumn in New York.” The evening wrapped up with a sing-a-long rendition of “Let it Snow!” and several encores, capped with “Lullaby of Birdland.” We were among some of the greats of the NY scene. Priscilla Lopez, Kelly Bishop, Margaret Colin, Ron Raines, Marni Nixon, Alice Playten were some of the stars out on the town. I had the pleasure of meeting the effervescent Kate Baldwin, one of the loveliest singing actresses in town (who will be on an upcoming SVU so be on the lookout!) and my candidate to play Ellen Roe in Donnybrook! should Encores take the initiative. I also got to meet Harvey Evans, a perfect gentleman and one of the nicest people in show business. The party didn’t end there: we went to Angus’ for a nightcap and further good times with good friends.

Road Show 11/29 – I have never had the privilege of seeing a new Sondheim show until now. Although it’s not entirely new, the show, a labor of love (quite possibly an obsession) for Sondheim, was work-shopped as Wise Guys (dir: Sam Mendes; Nathan Lane & Victor Garber) in 1999, played regional engagements as Bounce (dir: Harold Prince; Richard Kind & Howard McGillin) in 2003 has finally made its way into New York as Road Show (dir: John Doyle; Alexander Gemignani & Michael Cerveris) in 2008. The musical, about the Mizner brothers, has been given a dark, conceptual staging here at the Public that was rather unengaging, unemotional and ultimately rather uninteresting. The show has been scaled back considerably with a unit set, intermissionless hour and forty minute running time. Gemignani and Cerveris provide excellent performances, carrying the evening. Doyle’s directorial choices bothered me, particularly his favorite: two actors talking to each other while facing front. However, the costumes by Ann Hould-Ward are incredibly clever, especially having the opportunity to see the work up close as the actor’s collected for BC/EFA. The score sounds like a Sondheim piece, those discordant synocopated vamps and his usual lyrical wordplay (though I think here his composition outshone his text); but aside from “You” and “The Best Thing That Has Ever Happened,” (what a song!) there wasn’t too much that stood out. As I walked away two musical lines were trapped in my head: “Everybody’s Got the Right” from Assassins and the line “Ooh your song’s derivative” from “Die, Vampire, Die” out of [tos]. (Watch Road Show be declared a masterpiece in ten or twenty years and watch us naysayers changing our critical tunes). Newcomer Claybourne Elder was an endearing well-sung presence as Addison’s lover Hollis. Alma Cuervo, William Parry and Anne L. Nathan did the best with what they were given, which wasn’t much. I went into this knowing the divisive opinions on the show and the mixed critical response, however, I was hoping beyond hope that I would enjoy the play, but overall Road Show just isn’t that compelling. The day wasn’t a total disappointment: I got to roam much of Manhattan with my very good friend Chris Lavin (Follies enthusiast and a discerning and observational writer who needs a blog of his own – I know you’re reading this Chris, and I mean it). Visited a new favorite haunt, the Drama Book Shop and was lucky to just have a wonderful day in NYC. Let it be said, while I didn’t care for the show (I quipped to several friends that I had just seen Road Kill), he loved it. And you know what that means, kids. Sondheim definitely has a new show in town.