Tag: One Man Two Guvnors

West End Revisited

I’ve been itching to get back to London ever since my 2012 visit came to an end. I took the opportunity to fly back when I learned that The Union Theatre was going to be presenting the first fully staged production of Darling of the Day in England. The flop musical, with a score by Styne and Harburg, was a fast flop in 1968 but won my fave Patricia Routledge a Tony. I’ve known and loved the score for many years, but have never had an opportunity to see it onstage. An added bonus was the casting of my friend Rebecca Caine as Lady Vale. I booked my flight, and my tickets to this show (its final performance), as well as the first preview of the West End transfer of the Menier Chocolate Factory’s Merrily We Roll Along.

This was all I had planned. I decided a couple weeks before I left to improvise most of the trip, including what theatre I saw. I decided to visit the TKTS booth in Leicester Square and try for day seats (the classy term used in the West End for rush) for either Peter and Alice or The Audience (or both). I wasn’t married to any particular show, idea or tourist attraction and just decided to see what would happen. Trips can be a lot more fun when you have this sort of freedom.

I took an evening flight out of JFK (aka the most cheery place on earth…), and managed to get no sleep on the flight. In a sign that proves I am turning into my father, I mostly avoided the in-flight entertainment and watched the flight tracker. However, I did watch an episode of Miranda during dinner (lesson learned: never watch something that will make you guffaw while you eat). With the exception of allowing myself an extra day, I followed a similar trajectory as I did on my last trip. I landed in Heathrow and made the claustrophobic trek from the airport to Canary Wharf on the underground. Thanks to my pal, Vera Chok, soon to be on stage at The Almeida in Chimerica, I was able to stay in the same house I did last year, with its tremendous location on the Thames overlooking the O2. I collapsed for a few hours in the mid-day, and then ventured out to the West End.

What surprised me most was how much of the layout I remembered. When I arrived the previous year, I had very little clue as to how to get around on the underground or where I had to go. This time, I barely even consulted a map. I soon found myself getting to know the West End: Piccadilly Circus, Leicester Square and Charing Cross Road became familiar sights during my week-long stay. That first day I knew that I would once again hate having to leave this wondrous city.

My original plan was to see nothing I had already seen in New York (or London, with Matilda running in both cities). Well, I scrapped that plan the very first night. Having arrived the morning of the explosion in West, Texas and while still reeling from the tragic events of the Boston Marathon, I decided at the TKTS booth in Leicester Square that I wanted something funny and silly to pass the time. So, I chose One Man, Two Guvnors. The show was my favorite of last season, which I saw three times with its original cast. While the NY production closed with James Corden’s departure, the West End run is now on its third cast.

While it wasn’t as bombastic a show without the original cast (my last experience seeing the show had been their wild, free-for-all closing performance), the play is still unbelievably hilarious. Rufus Hound is not nearly as indelible as Corden, but the staging is fool proof. Some of the improvisational bits included Dead Maggie Thatcher jokes, which went over big. Having seen the show so many times, and being familiar with the staging, I took the opportunity to observe the audience around me during some of the sure-fire bits, notably the uproarious food preparation. Also of note: Josh Sneesby was leading The Craze in the show’s skiffle music. Exceptional musicianship; and Grant Olding’s score is still quite remarkable. I find I listen to the show’s original London cast album more than anything else that opened on Broadway last year.

I made this a one-two punch as I decided on my second night to see the West End transfer of the Tony-winning musical Once. More on this next time.

My Favorite Performances, 2012

Bertie Carvel – Matilda. Hearing Carvel’s performance on the original cast recording was my main impetus in making sure I got to London to see the show while he was still in the cast. As Agatha Trunchbull, the grotesque headmistress at war with Matilda Wormwood, Carvel creates one of the great comic villains in music theatre, a domineering physical presence whose second act anti-child number “The Smell of Rebellion” is a show-stopper. There are panto elements in the performance, but he plays Miss Trunchbull without winking or leering, showing shades of the insecure bully who resorts to all sorts of nasty business. I’m so thrilled NY will have a chance to see his performance in the upcoming Broadway transfer.

James Corden – One Man, Two Guvnors. The most brilliant comic creation I’ve seen since Mark Rylance took Broadway by storm with Boeing Boeing, Corden’s Francis Henshall – portly, silly, lovable – was a delight from start to finish. It’s rare that pure silliness can beget pure joy. Corden managed to do this through the mix of high and low (mostly low) brow humor in Richard Bean’s updating of A Servant of Two Masters. I saw the show a total of three times, including opening night and the utter free-for-all that was the closing night (hijinks, pranks, nudity, and all sorts of glorious hijinks in the spirit of the show) and I consistently laughed until my sides ached every time. Much of this is due to Corden’s brilliance. I do wish the play had continued after his scheduled departure, but fortunately it’s still running in London for those who want some breathless hilarity.

Linda Lavin – The Lyons. Lavin gave up supporting roles in Broadway transfers of Follies and Other Desert Cities to play this leading role off-Broadway, and with good reason. Rita Lyon is one of the most fascinating mothers in American drama since Violet Weston went nuts on her family. Lavin was able to turn a magazine page turn into a comic gold mine, and constantly surprised. Her exit speech was so brilliantly delivered that she received two back to back showstopping ovations.

Tracy Letts – Who’s Afraid of Virginia Woolf? Albee’s play is one of my favorites and I would gladly see any production of it anywhere. This Steppenwolf import is an intense, visceral experience that makes the battle for the upper-hand one of the games along the way. Intense work by a superb ensemble, but Letts comes out on top in this reimagined look at the fascinating George. He is terrifying, hilarious, charming, dangerous and unsettling making a role seem new. Everyone else in the ensemble is the better for this searing portrayal. A must-see performance.

Donna Murphy – Into the Woods. Critics were mixed on this production (and having seen it three times throughout its run, I think it was a mistake to let them in early), but Murphy’s portrayal of the Witch was one of the most galvanizing performances I have ever seen. Playing up the character’s pragmatism and relationship to Rapunzel, it was as though I understood a maternal need for the character that either I missed before, or just wasn’t present in other performances I have seen. Her “Last Midnight” was nothing short of legendary; one of then most terrifying and devastating showstoppers of the year.

Imelda Staunton – Sweeney Todd. I made it a point to catch this highly-acclaimed revival while in London, and I am so glad that I did. Michael Ball was Sweeney Todd, and while he was better than I expected, it was Imelda Staunton’s searing, gritty portrayal of the enterprising, conniving Mrs. Lovett that I left thinking about. Practically every facet of her performance is seared in my memory – from her reaction to Pirelli’s dead body, to the chilling look out front while James McConville finished singing “Not While I’m Around,” to the spectacular work she did in the show’s searing final scene. Apparently Ms. Staunton is uninterested in a Broadway transfer, and that is truly New York theatre’s loss.

Katie Thompson – Giant. There was much to admire in the Public Theater’s presentation of Michael John La Chiusa’s Giant, including the winning lead performances of Brian d’Arcy James and Kate Baldwin, but as Vashti Hake, the jilted cowgirl heiress turned tycoon’s wife, Katie Thompson took me completely by surprise. Ms. Thompson got two of the best songs in the show,”He Wanted a Girl” and “Midnight Blues” and delivered a featured performance so striking I want to see her star in her own musical.

Anthony Warlow – Annie. This Australian powerhouse made his Broadway debut as Daddy Warbucks the current revival, recreating a role he has played several times before. Much to my surprise, Mr. Warlow managed to steal this classic musical about that orphan from both of its leading ladies, with his gruff but sincere demeanor and a voice that is nothing short of spectacular. His rendition of “Something Was Missing” brought down the house, something I wouldn’t have thought previously. He is the heart and soul of this uneven, but entertaining production.

Eleanor Worthington-Cox – Matilda. In the past year I have seen an inordinate amount of child performances. In the past I haven’t taken too well to kids on stage – not unlike the stage manager in Gypsy – but for the most part I saw real children giving strong performances that weren’t overly precocious or cloying. And while I was in London, I so loved Matilda that I saw it twice. While the Matilda I covered was the exceptional Sophia Kiely, I think Eleanor Worthington-Cox gave the greatest child performance I have ever seen in my life. (With all respect to Ms. Kiely, who was superb). It felt like I was watching the perfect embodiment of Dahl’s character.

In a category all its own was the sublime reunion concert of Assassins, which brought back almost the entire 2004 cast at Studio 54. A sterling ensemble, it’s a shame they couldn’t have a revival of the revival as they are all still so extraordinary.

Also worth mentioning: Victoria Clark and Christopher Fitzgerald who both walked away with the Collegiate Chorale’s concert presentation of The Mikado. Clark entered like a virago, stopping the show before she even opened her mouth. She and Fitzgerald created pandemonium with their eleven o’clock performance of “There is Beauty in the Bellow of the Blast.”

On the Town: May Edition

When I was a senior in high school, I had the great pleasure of playing Freddy Eynsford-Hill in our spring production of My Fair Lady. The occasion was the 20th anniversary of the school’s performing arts center. It was a thrilling experience for the principal cast; an experience we still recall with each other fondly. It seemed to us that no expense was spared to make the production as thrilling as possible, including fully realized sets, costumes and the presence of the entire licensed orchestration in the pit (including harp!). Much was made of this weekend in celebration of the 30th anniversary of the Walter Panas High School’s performing arts center, and I have to say it was a special experience to see these kids take on this American classic with such brio.

Kudos to Jim Filippelli, who has been directing shows at the school since 1978, and without whom the Panas Players wouldn’t be what it is today. At intermission, the normally unflappable Mr. Filippelli was stunned by the senior class’ announcement that they were going to petition the Lakeland School Board to put his name on the school’s performing arts center. I can’t think of a greater honor for the man who made that building a reality, and for the man who makes sure that these kids put on two musical productions each year and insists that any student who wants to be involved is involved.

SarahB was officially endorsed by The Best Man and part of her responsibilities included seeing the show currently in revival at the Schoenfeld Theatre. I was quite fortunate enough to attend with her, and see Gore Vidal’s staggering play in this volatile election year. The most amazing thing about the play, and something I’ve heard from many people, is how relevant this text – written in 1960 – is today. James Earl Jones seems to be having the time of his life as the old school ailing former President, Angela Lansbury gives a master class in how to steal a scene with nothing but a bottle of Coke and a newspaper. Candice Bergen offers a fascinating portrait of a candidate’s wife who is uncomfortable with the entire process (and gets one of the best lines), while Kerry Butler  plays a Southern tart who’ll do anything to help her husband get elected. Angela Lansbury proves once again she’s one of our treasures with the rather small role as party dowager (and manages to steal a scene with nothing but a bottle of Coke and newspaper). Leave it to Gore Vidal to have a conclusion that is simultaneously inspiring and cynical. (Also, sending my best wishes to the always-excellent Michael McKean for a speedy recovery).

I find I’ve been listening to one new score more than any others. One Man, Two Guvnors. I loved the play when I saw it in April but didn’t expect to fall for the music. The skiffle band which plays a set before and during the show consists of entirely new songs, all of which were written by Grant Olding (who also functions as the lead singer in the UK production, and is featured on the original cast album of the score. It’s tuneful, entertaining with some clever lyrics. Mr. Olding is a Tony-nominee for Best Score Written for the Theatre. The general consensus is that Newsies will win because it’s an Alan Menken Disney hit and a musical. However, with apologies to Mr. Menken and Mr. Feldman, I think Mr. Olding takes the cake this season.

Picked up Maureen Stapleton’s biography at the Strand and devoured it. A Hell of a Life was published in 1995 and offers the Tony, Oscar and Emmy winning star’s usual candor and straight talk. She’s ferociously funny, salty and compelling. Her observations of the Actors Studio are fascinating, including the scene she did with Marilyn Monroe in the mid-50s. When she won her Oscar she famously quipped in her thank yous, “…and to everyone I ever met in my life.”  When she won her second Tony for The Gingerbread Lady, she was asked how it felt to win her reply was, “What the hell, it’s better than getting hit with a wet fish.” Those are just some of the choice one-liners that appear throughout. Pulling no punches, Stapleton (who died in 2006)  openly talks about her successes and failures with equal abandon. When not filling us in on fun anecdotes from her storied stage and screen career, she is also not afraid to talk of her alcoholism, failed marriages and the insecurities and problems that plagued her life. A hell of a life, indeed.

On the Town: April Edition

First off, some good news. The Drama Desk Awards committee has decided to reinstate the award for Outstanding Orchestrations, nominating Bill Elliott (Nice Work If You Can Get It), Larry Hochman (Death Takes a Holiday), Martin Lowe (Once), John McDaniel (Bonnie & Clyde), Michael Starobin (Queen of the Mist), and Danny Troob (Newsies). There was a considerable uproar from practically the entire Broadway community as well as theatre fans, with a grassroots campaign to try to rectify the situation. Blogs from Mr. Starobin and Jason Robert Brown went viral, Drama Desk president Isa Goldberg’s inbox was flooded with emails, and an online petition garnered over 3000 signatures, including many of Broadway’s best and brightest. I am relieved to see that all this action had a positive impact, and am glad to see the award reinstated. Congratulations to all the nominees, and all orchestrators, period.

Encores! presented Rodgers and Hammerstein’s Pipe Dream, an unusual failure based on the Steinbeck novel Cannery Row. While there are some lovely tunes in the score (and some gorgeous Robert Russell Bennett orchestrations), there is almost no musical there. Something about bums and prostitutes on the California coast living near each other.  The central conflict between the two would be lovers (a scientist who lives by the sea and a failed prostitute…I think) is that they are two stubborn to admit they love each other. The rest involves colorful characters, including a warm Madam, some bums and a character named Joe the Mexican. I doubt we’ll ever see this show staged again, so it was interesting to hear it at City Center. Will Chase and Laura Osnes played the lovers. Both sang well, but there wasn’t much for them to play. Stephen Wallem and Tom Wopat provided some amusement. The evening belonged to Leslie Uggams, who brought that big voice and charm to the proceedings. Her understated performance of “All At Once You Love Her” brought down the house. I was in hysterics during the last ten minutes, as everything suddenly rushed to the finale. There may have been a musical in Steinbeck’s novel, but it certainly wasn’t for R&H. A live cast album will be released by Ghostlight this summer. This excites me, as this might make it more financially feasible for other Encores! shows to be recorded.

Apparently I did the impossible: I won The Book of Mormon lottery. I was down in the city filming the Leap of Faith video for Patty and Emily, and decided to try. The girls were seeing a different show that night so they offered to help. My pal Russ Dembin joined us, as well. I was delighted and surprised to hear my name called. I entered not expecting to win, but rather to just get an entry in for the upcoming fan performance in June. One thing I’ll never forget is the look on the Lotto Guy’s face as he called my name and as I went to perk up, Patty and Emily started shaking their tambourines. It was the first and only time I’d seen him nonplussed this afternoon. Anyway, I made my way forward, and from the way everyone working the lottery and box office treated me, you’d have thought I just had my first child. I can honestly say I’ve never had a nicer time on line to buy tickets. This marked my first time seeing the hit musical, and my second time playing The Book of Mormon lottery.

Since it’s almost impossible to get into the show, I made the conscious choice a year ago not to listen to the original cast album. While hearing the score hadn’t impeded my enjoyment of, say, Urinetown or Avenue Q, I decided that I wanted to go in fresh. The only thing I knew was the translation of the phrase “Hasa Diga Eebowai” and the song “I Believe” from the Tony telecast. Most of the original cast is still in the show, and are likely staying put for a while. Andrew Rannells will likely never have a better role in his career, at least one that displays his considerable talents so effectively. Jared Gertner was on for Josh Gad, but considering how funny Gertner is it didn’t detract from the experience. When I wasn’t laughing, I was smiling one of those silly, ear-to-ear types, just basking in the joy emanating from the stage. And I just wanted to hug the Tony-winning Nikki M. James, she anchors the show with so much sincerity and heart.

The show is expertly crafted with great tunes and winning characters. Hats off to the writers for crafting an exceptional book, building the show to a gut-bustingly hilarious payoff in (“Joseph Smith American Moses” sent me to another plane entirely). Profane, for sure, but with a rather wonderful message. I’ve made up for lost time with the cast album in the days since, finding my appreciation and laughs growing with each subsequent listen. One of the cool things about being a lottery winner: I was sitting front row dead center, right behind musical director/conductor Stephen Oremus, whose conducting is a show in itself.

On the opening night front, there were something like 12,000 opening nights on Broadway this month. An exaggeration, but as sure hell felt like it. I attended one of them: One Man, Two Guvnors, the hardest I’ve laughed at a show since, well, The Book of Mormon. James Corden stars as the charmingly corpulent harlequin in this delicious update of an ancient commedia dell’arte imported from London with its original cast intact. (A band, The Craze which provides the skiffle music heard before and during the show is made up of American performers). Mixing the low comedy with improvised bits and audience participation, the show is nothing less than an all-out riot. Corden dominates the evening, but he is supported by a brilliant ensemble. Special mention to Daniel Rigby, Oliver Chris and especially Tom Edden for inspired bits of hilarity. I won’t say more, as I don’t want to spoil the fun. Just know that by intermission, my sides ached from laughter and I want to go back again and again. Also, you’re going to want the original London cast album. Trust me.

Now. Here. This. has since closed, but I’m glad I got a chance to see the new show from the [title of show] team at the Vineyard. Jeff, Heidi, Susan and Hunter were back and in glowing adorkable form as they shared personal memories, from hilarious to embarrassing to devastating. I can’t say the new show is an instant classic like their first Tony-nominated outing, but it was a joy to see all four performers together again and hear them sing and dance and quirk up a storm. I was especially moved by the segment about grandmothers, having a reaction similar to that at Love, Loss and What I Wore – their memories unlocked my own. I hope they all continue to give us more to see over the years. The quartet exudes such good will, that it is hard for me not to cheer them on. I hope a cast album is forthcoming. (You heard me, Ghostlight).

Tomorrow comes the Tony nominations and all the insanity that awards season brings. Good news: Hugh Jackman is getting a special Tony Award. I don’t know why these awards bodies decide on whims to delete important categories, especially the still-defunct Special Theatrical Event category that the Tonys had for a mere ten years. Since Mr. Jackman is ineligible to be considered in any category, and has done so much for the Broadway community, it is nice to see him so honored. More good news: Bernadette Peters is deservedly receiving the Isabelle Stevenson Award for all the charity work she has done on behalf of Broadway Barks and BC/EFA. I look forward to both acceptance speeches. (And for God’s sake, let them perform!)