Broadway
He Says: Tootsie The Musical: What She’s Selling, I’m Buying
“Even the impossible is possible“, they say, and when word hit the Broadway streets that they were going to try to do a musical remaking of the classic movie, Tootsie, I thought, oh no. Please don’t. That impossible is just plain too impossible to get right. But somehow, in the movie to stage adaptation of that 1982 film that starred Dustin Hoffman, David Yazbek (Broadway’s The Band’s Visit), who wrote the music and lyrics, and book writer Robert Horn (TV’s “Designing Women“) found just the right fit, cur and fabric to make that dress work. They, with director Scott Ellis (Broadway’s Kiss Me, Kate) and choreographer Denis Jones (Broadway’s Holiday Inn) have created one of the funniest Broadway movie musicals around. It’s pretty much comedic gold, and that’s no small feat. Pretty Woman and many others of its kind failed at the task, with a creative team thinking they shouldn’t or couldn’t mess at all with the structure or story, but much like the equally funny Beetlejuice The Musical, these characters had the guts to focus on the positive and find an authentic base to build a real musical on top of. Just like the wise Dorothy Michaels, they knew how to take something that could have been a disaster, and make it fly.
![[3964]_HALSTON, MOYE, FONTANA, COOPER, BEHLMANN in TOOTSIE, Photo by Matthew Murphy, 2019](https://frontmezzjunkies.files.wordpress.com/2019/05/3964_halston-moye-fontana-cooper-behlmann-in-tootsie-photo-by-matthew-murphy-2019.jpg?w=723)
It all starts so beautifully with an audition medley that lays the groundwork for everything to follow. “I like what she’s doing” up on the Marquis Theatre stage, with the tremendously talented and flexible Santino Fontana (Broadway’s Cinderella) taking on the role of a lifetime as that difficult to work with, out of work actor Michael Dorsey, who desperate for some theatrical validation, disguises himself as a better working woman, Dorothy Michaels (Pickle Barrel Dinner Theater and Bate N’ Tackle’s Othello), than he is as a man. It’s a set up perfectly stitched for the current #MeToo movement, with quick and smart one liners that say it all. Prompted by a list of things to accomplish by the age of forty, the troubled and desperate Michael puts on a dress in order to find the break he is in need of, and discovering a number of things beyond the straight forward and obvious. He also discovers and falls off his sensible heels for the young and very pretty Julie Nichols, sweetly played by a charming Lilli Cooper (Broadway’s SpongeBob…), who is in need of some honesty and care. She’s struggling with her own actor self as she takes on the lead of a poorly conceived musical helmed by the narcissistic theatre director, Ron Carlisle, wildly played by Reg Rogers (Broadway’s Present Laughter) doing his best Robin Williams/”Bird Cage” mash up with flap-happy success. Not helping within the ridiculous revamping of the Romeo and Juliet story-turned alternative musical, the slightly underwritten leading lady has been cast opposite the hopelessly no-talent reality tv personality/actor Max Van Horn, wonderful portrayed by the adorable John Behlmann (Encores’ 1776). He’s “not my type, even on tequila” (wink, wink), but he delivers the prize with a hilariously smart and infectious number in Act 2, “This Thing“, that literally tears down the place with its innocent tattoo’d ridiculousness. Filling out the backstage storyline, we are gifted with the very good Michael McGrath as talent agent Stan Fields, and delivering some of the funnier feminist lines is the gloriously gifted Julie Halston (Broadway’s On the Town) as producer Rita Marshall. A Pure joy to behold.
![[2435]_ANDY GROTELUESCHEN and SARAH STILES in TOOTSIE, Photo by Matthew Murphy, 2019](https://frontmezzjunkies.files.wordpress.com/2019/05/2435_andy-grotelueschen-and-sarah-stiles-in-tootsie-photo-by-matthew-murphy-2019.jpg?w=723)
So in that is where the problem, albeit not a huge one, lies. None of the more serious songs telling the emotional stories of Michael and Julie are obviously catchy or carry a hook that stays with you once you leave the theatre (I must admit, I was still humming one of the songs from the much more brilliant Hadestown as I took the subway home that same night). That isn’t where the wiseness and fun of Tootsie resides. It’s in the emotional hilarity of the sidekicks where this show does its best to not fuck it up. “Let me rephrase that“…, it’s in the comedic portions and songs, and there are a number of fantastic hits there, where we find all the love in the world for Tootsie and crew. “What’s Gonna Happen“, sung by the Teri Garr replacement for Sandy Lester, the wildly wonderful Sarah Stiles (Broadway’s Hand to God), delivers the show stopper of the night, with a very deserving Tony nomination attached. It’s a performance of insecure perfection, selling her situation as brilliantly as does Andy Grotelueschen (Fiasco/RTC’s Into the Woods) as roommate Jeff Slater and his brilliantly funny Act 2 opener, “Jeff Sums It Up“, recapping the desperate shenanigans Michael has donned as tightly as that iconic red sparkly dress, courtesy of the master himself, costume designer William Ivey Long (Broadway’s Beetlejuice). Both, along with “This Thing“, are spellbindingly whip smart and hilarious, and both deserve our fullest praise.
![[0806]_SARAH STILES in TOOTSIE, Photo by Matthew Murphy, 2019](https://frontmezzjunkies.files.wordpress.com/2019/05/0806_sarah-stiles-in-tootsie-photo-by-matthew-murphy-2019.jpg?w=723)
This movie to musical recreation delivers an “Unstoppable” barrage of hilarious setups, one liners, and moments that will make you laugh out loud with a wise glee. The scenic design by David Rockwell (Broadway’s She Loves Me), with lighting by Donald Holder (Broadway’s My Fair Lady) and sound design by Brian Ronan (Broadway’s The Prom) is pretty standard fare, to be honest, giving you a stock New York skyline backdrop and a straight forward center stage blocking by Ellis and Jones, that gets the job done. The look is pure obvious Broadway, but lacks an inventive moving forward style that would have taken this very funny show over the top. The music director and supervisor Andrea Grody (Public Works’ As You Like It) with orchestrations by Simon Hale (MCC’s Alice by Heart) deliver the peppiness and spirit that is needed, (“I know, I do that“) thankfully, bringing us all the joy and fun that Tootsie‘s Dorothy would approve of. It won’t change the world, but it might change how musical theatre sees classic movie remaking. At least with this movie musical, Tootsie didn’t drop it. And Fontana might never be able to delivery that line about Tony again, without a standing ovation.
![[0662]_FLESNER, MORRIS, FONTANA, HALSTON in TOOTSIE, Photo by Matthew Murphy, 2019](https://frontmezzjunkies.files.wordpress.com/2019/05/0662_flesner-morris-fontana-halston-in-tootsie-photo-by-matthew-murphy-2019.jpg?w=723)
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Broadway
Theatre News: Doubt: A Parable, Here Lies Love, Prayer for the French Republic, Eisenhower and Hell’s Kitchen
Tyne Daly and Liev Schreiber will star in a revival of Doubt: A Parable on Broadway. The production is to begin performances next February at the American Airlines Theater.
The new production is produced by the Roundabout Theater Company, and will be directed by Scott Ellis, who has been serving as the nonprofit’s interim artistic director since the death of artistic director Todd Haimes in April.
The play, by John Patrick Shanley, is about a nun who suspects a priest has sexually abused a student at a Catholic school. In 2005, the year it first opened on Broadway, it won both the Pulitzer Prize for drama and the Tony Award for best play; it was later adapted into a film and an opera.
Daly, who will play the nun who serves as the school principal, and Schreiber, who will play the parish priest, are both Tony winners. Daly, is known for her role in “Cagney & Lacey”. She won the 1990 Tony Award for her portrayal as Mama Rose in the revival of Gypsy. Schreiber, is the star of Showtime’s “Ray Donovan.” He won a Tony Award in 2005 for a revival of Glengarry Glen Ross.
Doubt is one of three plays to be staged by Roundabout this coming season. The others are I Need That, a new play by Theresa Rebek starring Danny DeVito alongside his daughter, Lucy, and Home, a 1979 revival, directed by Kenny Leon, by Samm-Art Williams.
David Byrne, Fatboy Slim and Here Lies Love are causing controversy with their July Broadway debut. The show’s extensive use of prerecorded music has the American Federation of Musicians’ Local 802, up in arms. The Local’s Broadway musical contract stipulate that productions employ 19 live musicians.
In response to the union’s concerns, Byrne and the show’s PR team released a statement on Instagram to lay out the production’s revolutionary format and genre-bending originality. Here Lies Love is not a traditional Broadway musical. The music is drawn outside of the traditional music genre. The performance of the live vocals to pre-recorded, artificial tracks is paramount to its artistic concept. Production has ripped out the seats in the theater and built a dance floor. There is no longer a proscenium stage. The Broadway Theater has been transformed into a nightclub, with every theatergoer immersed in the experience.
Here Lies Love is on Broadway because Broadway must support boundary-pushing creative work. Broadway is also the venue for a well conceived, high-quality show that highlights the valued traditions of specific cultures whose stories have never been on its stages. Here Lies Love does not believe in artistic gatekeepers. Here Lies Love believes in a Broadway for everyone, where new creative forms push the medium and create new traditions and audiences.
I saw Here Lies Love at The Public and not sure what kind of fast talking this is, but this statement rings false and full of how can we cut the costs while sticking it to the audience.
Photo by Murphymade
Prayer for the French Republic, by Joshua Harmon is coming to Broadway this season.This award-winning Off Broadway production played to rave reviews at The Manhattan Theatre Club. The production was the winner of the 2022 Drama Desk Award for Outstanding Play and Outer Critics Circle Award for Outstanding New Off-Broadway Play. Broadway performances will begin previews on Tuesday, December 19, at the Samuel J. Friedman Theatre, with an official opening night on Tuesday, January 9, 2024. David Cromer directs.
Off Broadway: Tony winner John Rubinstein starts previews June 13 at St. Clement’s in one-man show Eisenhower.
Alicia Keys’ musical Hell’s Kitchen will run at The Public Theater from October 24 – December 10, starring Shoshana Bean. Inspired by Keys’ own life, the new musical features an original score by the 15-time Grammy-winning singer-songwriter, with a book by Kristoffer Diaz. Hell’s Kitchen will be directed by Michael Greif and choreographed by Camille A. Brown.
Leading the cast will be Maleah Joi Moon as Ali, opposite Bean as Ali’s mother Jersey, with Brandon Victor Dixon as Ali’s father Davis, Chad Carstarphen as Ray, Vanessa Ferguson as Tiny, Crystal Monee Hall as Crystal, Chris Lee as Knuck, Jackie Leon as Jessica, Kecia Lewis as Ali’s piano teacher Miss Liza Jane, Mariand Torres as Maria, and Lamont Walker II as Riq.
Completing the cast are Reid Clarke, Chloe Davis, Nico DeJesus, Timothy L. Edwards, Raechelle Manalo, Sarah Parker, and Niki Saludez, with understudies Badia Farha, Gianna Harris, Onyxx Noel, William Roberson, and Donna Vivino.
The musical is described as a coming-of-age story set in a cramped apartment in the neighborhood of the title near Times Square, where 17-year-old Ali is desperate to get her piece of the New York dream. Ali’s mother is just as determined to protect her daughter from the same mistakes she made. When Ali falls for a talented young drummer, both mother and daughter must face hard truths about race, defiance, and growing up.
The production has set design by Robert Brill, costumes by Dede Ayite, lighting by Natasha Katz, sound by Gareth Owens, and projection design by Peter Nigrini.
The countdown is on and the winners of the 2022/2023 season will be announced in a live televised ceremony on Sunday, June 11.
Here is who we think will win and who should.
Best Performance by an Actress in a Leading Role in a Musical
The Nominees
Annaleigh Ashford, Sweeney Todd: The Demon Barber of Fleet Street
Sara Bareilles, Into the Woods
Victoria Clark, Kimberly Akimbo
Lorna Courtney, & Juliet
Micaela Diamond, Parade
This to us is a no brainer … Victoria Clark performance has stood out since she brought Kimberly Akimbo to life off-Broadway in 2021. Though Annaleigh is a terrific performer this is Victoria’s year.
Will Win: Victoria Clark
Should Win: Victoria Clark
Best Performance by an Actor in a Leading Role in a Musical
The Nominees
Christian Borle, Some Like It Hot
J. Harrison Ghee, Some Like It Hot
Josh Groban, Sweeney Todd: The Demon Barber of Fleet Street
Brian d’Arcy James, Into the Woods
Ben Platt, Parade
Colton Ryan, New York, New York
This is another no brainer J. Harrison Ghee gives a textured layered performance. Ben Platt and Josh Groban cancel each other out, though both are riveting performances.
Will win: J. Harrison Ghee
Should win: J. Harrison Ghee
Best Performance by an Actress in a Featured Role in a Musical
The Nominees
Julia Lester, Into the Woods
Ruthie Ann Miles, Sweeney Todd: The Demon Barber of Fleet Street
Bonnie Milligan, Kimberly Akimbo
NaTasha Yvette Williams, Some Like It Hot
Betsy Wolfe, & Juliet
Bonnie Milligan took the theatre community by storm in Head Over Heels, but it was not her time. This year Milligan commands the stage and you definitely remember her performance.
Will win: Bonnie Milligan
Should win: Bonnie Milligan
Alex Newell photo by Matthew Murphy & Evan Zimmerman)
Best Performance by an Actor in a Featured Role in a Musical
The Nominees
Kevin Cahoon, Shucked
Justin Cooley, Kimberly Akimbo
Kevin Del Aguila, Some Like It Hot
Jordan Donica, Lerner & Loewe’s Camelot
Alex Newell, Shucked
Many think Alex Newell was snubbed in 2018 for his performance in Once on This Island. Newell gets standing ovations over at Shucked for “Independently Owned” and they are well deserved. Kevin Del Aguila to me was a breath of fresh air and made me love his performance not once, but twice.
Will win: Alex Newell
Should win:Kevin Del Aguila
Broadway
National Yiddish Theatre Folksbiene Summer Soirée With Barry Manilow, Julie Benko, Adam B. Shapiro, Michael Zegen and More
On June 19 the National Yiddish Theatre Folksbiene Summer Soirée at The Lighthouse at Chelsea Piers is set to impress. Adam B. Shapiro (from the cast of the award winning Fiddler on The Roof in Yiddish), will be the Master of Ceremonies The celebrity address will be by Michael Zegen, co-star of “The Marvelous Mrs. Maisel,” with a special performance by Julie Benko, the sensational breakout star of Broadway’s Funny Girl. Benko has joined the cast of Harmony coming to Broadway this fall.
Musical Moments from NYTF’s Upcoming Season including a performance by Danny Kornfeld from Barry Manilow and Bruce Sussman’s Broadway Bound New Musical ‘Harmony’
The evening will also feature performances from artists who have been part of NYTF’s stellar productions, including a special appearance by The Mameles, whose singing trio – Maya Jacobson, Raquel Nobile and Jodi Snyder – met while starring in Fiddler on the Roof in Yiddish.
Throughout the night, attendees also will be treated to performances by: Dani Apple, Joanne H. Borts, Aaron Diskin, Brian Glassman, Sophie Knapp, Annette Ezekiel Kogan, Yosef Kogan, Frank London, Avram Mlotek, Jenny Romaine, Rachel Yucht, Avi Fox-Rosen, Ilya Shneyveys, Dmitri Zisl Slepovitch, and Matt Temkin and the Schechter Bergen Children’s Chorus
Indulge in a delightful cocktail reception followed by an exquisite dinner as you prepare to be dazzled with exclusive previews of musical moments from NYTF’s upcoming 2023-2024 Season.
Levi Holloway’s Grey House is a mental mind bend. It tries to come off as a haunted thriller with blackouts galore, moments left hanging, loud noises and flashes in the dark of dead things, but deep down it is a lot more than that. The script lacking in text, takes awhile to figure out the ins and outs.
Colby Kipnes, Laurie Metcalf, Sophia Anne Caruso, Millicent Simmonds, Alyssa Emily Marvin, Tatiana Maslany, Eamon Patrick O’Connell Photo by MurphyMade
We starts off as a blizzard rages outside, four feral teenage girls, a young boy (Eamon Patrick O’Connell) and their mother Raleigh (Laurie Metcalf), who is asleep on the couch or is she passed out, entertain themselves. There is Bernie (Millicent Simmonds) who is deaf, a cynical Marlow (Sophia Anne Caruso), the unpredictable Squirrel (Colby Kipnes), and the sweet A1656 (Alyssa Emily Marvin). The girls do what looks like a spell, as a car crashes bringing in Max (Clare Karpen, standing in for Tatiana Maslany) and Henry (Paul Sparks). From the beginning you know nothing good is going to happen.
Paul Sparks, Cyndi Coyne Photo by MurphyMade
Henry called Hank by the girls has broken his ankle and is given “moonshine” for the pain. The refrigerator mysteriously offers this liquid when it feels like it. Henry becomes addicted to the liquid as he encounters first Squirrel, then The Ancient (Cyndi Coyne).
Millicent Simmonds, Laurie Metcalf Photo by MurphyMade
In the meantime Max is manipulated into playing games with these strange children, as Raleigh throws caustic asides and distain to her.
As Henry gets more and more into his “moonshine” addiction he becomes the men who have abused all the inhabitants of this purgatory. The house it turns out is a cross over between heaven and hell or is it way station where karma is played out? It is a surprisingly that this play is written by a man, because at the crux of this play is men will always hurt, disappoint and destroy the female gender.
Director Joe Mantello (Wicked) has used set designer Scott Pask, sound designer Tom Gibbons and lighting designer Natasha Katz to make Grey House a living breathing entity that haunts from within. His cast is uniformly excellent with Sophia Anne Caruso bringing yet another haunting performance to life with a scalding clarity. Metcalf brings to mind every Stephen King novel and gives a masterclass in acting. Karpen gives us a women who is lost in mourning due to her father just passing and a long-dead sister whom she loved. We see the weight put upon her that ultimately binds her to this place. Sparks is the epitome of a week man who fight is within himself.
This play leaves more questions than answers that are left to the audience to figure out. At the heart of this story is grief and how we are trapped and make our own prisons instead of moving to the light.
Grey House: Lyceum Theatre, 149 W 45th Street, through September 23rd.
My View: Clint Holmes Is In Town!
Golden Moments – Grand Weekend at Veuve Clicquot Polo Classic
Theatre News: Doubt: A Parable, Here Lies Love, Prayer for the French Republic, Eisenhower and Hell’s Kitchen
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