New York City Theater

Let's start with the York's concert production of THE BAKER'S WIFE, which I caught on Sunday night, and concluded the Musicals in Mufti tribute to the librettos of Joseph Stein. (Other works presented included ZORBA, SO LONG 147TH STREET, and THE BODY BEAUTIFUL.) Not only was this easily the best production of the series (though they were all good productions), this was probably the best Mufti production I've yet to catch altogether. Even long-time York subscribers were questioning whether this was the best thing they had ever seen there.

Now why is that? Well, to start, a good plurality of the York's cast had already done the show three years ago at Papermill Playhouse. (The York's director also staged the Papermill one.) So in spite of James Morgan's claim that the cast had only seen the material about a week earlier, most of them had in fact not only seen it before, but memorized the songs/book and performed them to perfection. Plus, unlike say THE BODY BEAUTIFUL, which is an artifact essentially, THE BAKER'S WIFE still plays extraordinarily well onstage. It's a show that has, for whatever reason, yet to receive a Broadway revival by say Roundabout, or even commercially. And the production I saw at the York was better than many, many recent Broadway musical revivals.

So if MERRILY or BYE BYE BIRDIE at Studio 54 in Spring 2009 doesn't pan out, why not BAKER'S WIFE?

Next - Verdi's MACBETH at the Metropolitan Opera, which I caught on Friday night. Again, a stunning, overtly theatrical production (staged by RSC's Adrian Noble) and exquisitely conducted by James Levine. This is not exactly Verdi's best work, and with one exception (replacing the England scene with the refugee scene), it pales in comparison with Shakespeare's tragedy itself. But again, another great new Met production, following LUCIA DI LAMMERMOOR and preceding HANSEL AND GRETEL.

THE BOYS FROM SYRACUSE - this is the second production I've seen by NYU's Steinhardt School at the Provinceton Playhouse, as part of their Musicals a La Carte mini-series, which will be followed by THE GOLDEN APPLE in two weeks. In truth, this is more or less a variation on the York's Musicals in Mufti, with a full-size cast performing without a set and in street clothes. The pit consisted of a conductor plus three pieces, and they sounded quite good. The cast was more than adequate, and I enjoyed it more than a number of the fully-staged Steinhardt shows I've seen in the past. Come to think of it, I really wonder how many colleges are doing fully-staged readings like BOYS FROM SYRACUSE of old musicals. Not only does this serve to get more of the students involved in performing a musical, but it also helps introduce them to classics that might not otherwise merit a fully-staged production.

SPEECH & DEBATE - I really connected with this play at Roundabout Underground because: 1) I did Forensics in high school; 2) I performed in THE CRUCIBLE in high school; 3) I performed in ONCE UPON A MATTRESS in high school. I'll go on further about this in a later installment.

I had yet to actually attend one of these benefit performances in the past, where a handful of Broadway/Off-Broadway playwrights overnight create 10-minute plays, which are then performed at 8pm the following night by celebrity casts.

This year, all the plays were performed on the set of PGYMALION at the American Airlines Theater. Specifically, Higgins' musty office. What a Jane Austen-like apartment you have, one actress remarked last night.

The night, we were told, was sponsored by a handful of major NY law firms. And the audience was made up more or less of benefactors and friends of the benefactors.

The plays themselves, needless to say, are not meant to be preserved for posternity. I actually once participated in an official 24 Hour Plays event, where I was a director. The plays we got to work on were actually not too bad, as they were all written by candidates for an MA Playwrighting program. And they actually went through a range of genres; after all, those playwrights had to convince a dean of performing arts that they were worthy of being admitted.

But here, on Broadway, a bunch of far better playwrights essentially decide to be as silly as possible for the night. David Lindsay-Abaire, who wrote the Lifetime-ish drama RABBIT HOLE, about a grieving mother, instead writes a farce about narcolepsy and internet porn for niche audiences.

My god, this is going to be an awesome movie.

CLICK HERE FOR LINK TO NONESUCH RECORDS SITE

Okay, seriously - what's the point of restaging Bob Fosse's DANCIN'? Isn't it time to revive PIPPIN? Or maybe do a decent revival of SWEET CHARITY with the original choreography?

Whatever. So let's take a look at the first two nights of entertainment at the Broadway Cabaret Festival, a subsidiary event stemming from Scott Siegel's Broadway By the Year series at Town Hall. This was, in fact, the first Town Hall/Broadway event since their Summer Cabaret Festival. The next will be Broadway Unplugged in November.

Two years ago, the Broadway Cabaret Fest kicked off with a night of Kander & Ebb songs. Last year, it was Jerome Kern stuff. This year, it was Stephen Schwartz, with Schwartz himself in attendance to politely applaud for 90% of the show and then finally sing a song or two at the piano.

The press agents did not supply a running order for either the Schwartz show or the Betty Buckley concert, so I can't refer to one and reprint the songs. But I'll try to remember highlights.

What really struck me was how Stephen Schwartz's material is so post-golden age musical theater, not the kind of stuff emphasized at the typical Broadway by the Year events. And even Betty Buckley's concert attempted to move away from typical Broadway fare, with her driven, somewhat even obstinate emphasis on performing non-Broadway material (blues, Christian, jazz, country, ect).

I could feel the anger from much of the audience at Buckley, who began her concert with a full half our of very slow, non-theater material. First rule of performance: know your audience!! But things got considerably better once she began doing Broadway stuff, mostly as an effort to promote her new album "Betty Buckley 1967." While I understand that she is performing the concert to promote that and another new album, it was so clear that she was at Town Hall to promote her own agenda that it became somewhat offputting. Unlike last year, when say Alice Ripley and Emily Skinner performed, both of whom have been seen any a number of the Broadway By the Year-related events, Buckley is a stranger to our environment.

Buckley actually made a point of saying she really wants to return to Broadway in something. He jokingly pleaded for "the boys," the producers, the writers, whomever, to make her a show. Well, Ms. Buckley, here's my advice: start smaller. Go back to Papermill. Or better yet, do an Encores! show. Encores! would probably LOVE to do a classic show built around you. Build some buzz. And take it from there. Otherwise, you might be whimsically talking about a return to Broadway for the next 20 years in your concerts.

But in any case, Buckley was in perfect vocal form. Her performances of songs from the "1967" album were generally great ("Might as Well Be Spring," "Cest Magnifique," ect). And her act one finale, "With One Look," and act two finale, "Memory," were extraordinary. Hell, she was even crying during "Memory" and making cat-like gestures with her hands. It was unreal!

But back to the Schwartz show on Friday... At the end, Schwartz took the stage and sang a somber "For Good" at the piano. Then, as the finale, Mrs. Carol Schwartz (his wife, apparently? current wife? ex-wife?) played PIPPIN's Bertha and sang a feel-good rendition of "Time to Start Living."

I was hoping that Scott Coulter would be tapped to direct the Schwartz concert, who always provides outstanding vocal performances at the Broadway By the Year shows. His direction showed true understanding of the material (He's worked extensively with Schwartz on a number of projects), and he brought real creativity to the staging.

Greatest moment: Liz Callaway's performance of "Meadowlark." Her "Lion Tamer" and "All for the Best" were also great, but her "Meadowlark" is a masterclass in musical theater acting, along the same vein of Barbara Cook's performance of "Buddy's Eyes" and "Mr. Snow." How about giving Callaway a Broadway Cabaret Festival concert next year??

I do not have the time to attend BROADWAY ORIGINALS on Sunday afternoon. I noticed that Len Cariou, the original Sweeney Todd, who was highly publicized as the leading attraction, is no longer listed on the press materials. But whatever. I'm sure the event will still be highly entertaining.

What once was a musical theater device in full swing - the benefit concert of a once popular or at least well-liked musical - is suddenly going extinct. The Actors' Fund, which essentially heralded the form in Seth Rudetsky's concerts (DREAMGIRLS, HAIR, CHESS, FUNNY GIRL, ON THE 20TH CENTURY, WHOREHOUSE), did not do one this year. Instead, they offered the Brian Stokes Michell Carnegie Hall concert, which took place last night. And I've heard nothing of Jamie McGonnigal doing one (RAGS, SECRET GARDEN, PIPPIN, CHILDREN OF EDEN). Did he exhaust the Stephen Schwartz songbook? There's still BAKER'S WIFE, even if the York is doing their version of it. And GODSPELL - oh wait, that's now getting a Bway revival. DROOD perhaps? SIDE SHOW?

Anyhow, Stokes has not performed on Broadway since MAN OF LA MANCHA, which I wouldn't say flopped, but wasn't exactly a hit either. It wasn't particularly good either, though Stokes, as always, had awesome stage presence. I'll never forget being in the press opening audience in its regional tryout at the National Theater in D.C., feeling sick to my stomach as soon as I realized the revival had cut the musical's overture.

The Carnegie Hall concert lasted a full three hours - and that turned out to not be such a great thing. His first act was damn near perfect - featuring "Wheels of a Dream" with Heather Hedley, "Impossible Dream," "Zchaikovsky," "Another Hundred People/A Train," and a cameo from a suddenly thin Phylicia Rashad.

Then he came back from intermission at about 10pm. He did "My Friends" from SWEENEY, "Bess, You Is My Woman" and an off-mic "This Nearly Was Mine." And then his voice blew out, forcing him to struggle through the high notes of "How Glory Goes" from FLOYD COLLINS." After a finale where we sang a John Bucchino song with the Broadway Inspirational Voices, he took a bow, and did not come back for an encore. According to my press notes, he was also supposed to sing "Some Other Time" from ON THE TOWN, a song from THE GLORIOUS ONES, and that favorite upbeat Cy Coleman anthem made famous by Tony Bennett, which I presume had been reserved for the encores.

But there is an alternative explanation for the sudden lack of encores, other than his voice being shot. What if it had gotten so late that if the orchestra had kept playing, the Actors' Fund would have needed to pay them overtime? I actually think this is the more plausible explanation. Cause even if Stokes' voice was hurting, if his audience was there and eager, had there not been a financial reason to stop performing, I don't think he would have wanted to disappoint them.

Doesn't matter. It was still a great concert, again demonstrating what a matinee idol presence he has, and what a shame it is that he's not doing more new musicals. (FYI: he was originally supposed to originate the John Lithgow role in DIRTY ROTTEN SCOUNDRELS.)

Let's discuss some other recent shows:

THE BODY BEAUTIFUL AT THE YORK/MUSICALS IN MUFTI - I'm not going to go into the differences - and perhaps even antagonism - between this series and Encores. But the Musicals in Mufti concerts have become the CLASSIEST source of musical theater revivals in town. They are tackling shows that Encores isn't touching, and they are doing it with really great casts. Up next is THE BAKER'S WIFE in two weeks, and that will probably be amazing. For the most part, it's the Papermill Playhouse production from three years ago.

NATIONAL THEATER OF GREECE/ELECTRA - I've never seen so many before walk out on a show before - well, maybe not since IN MY LIFE. But this wasn't a horrible musical. It was a well-staged revival of a Greek classic. What was with the reaction? Maybe it was the messy subtitle system. Or, did part of the audience buy their tix not knowing this was going to be in Greek? In any case, I really admired Peter Stein's work, and look forward to seeing more City Center stagings of the Greek tragedies.

THE NEXT THING YOU KNOW: NEW SONGS FROM SALTZMAN AND CUNNINGHAM" - This hour-long revue at Provincetown Playhouse, as presented by undergrads at NYU's Steinhardt Musical Theater program, featured the work of Josh Saltzman and Ryan Cunningham, who wrote the excellent intimate musical I LOVE YOU BECAUSE, which played the Village Theatre two years ago. I couldn't help comparing and contrasting it with JRB's SONGS FOR A NEW WORLD, which isn't fair, considering what an insanely dynamic work that is. But NEXT THING provided some really great songs, and usually with full band orchestration. The songs were smart, based firmly in character choice, and varied in form. I look forward to seeing their future work.

THE LEGALLY BLONDE MTV BROADCAST - I still find this show to be very, very annoying. It's not bad... Just irritating. Will this broadcast help the show financially? Will it lead to more musicals being broadcast on cable TV? Will we get an HBO version of SPRING AWAKENING? Could be. Who knows. There's something due any day, I will know right away....

Summarizing the news heard on all the news fronts today, there will definitely be no lockout this weekend. The League of American Theaters has purposely assured theatergoers that there will be no lockout - at least this weekend.

PLAYBILL.COM Article about there being no strike this weekend

MICHAEL RIEDEL'S FRIDAY GOSSIP ARTICLE

Wednesday's New York Times article by Cambell Robertson provides the most accurate assessment of where the producers and stagehands currently are.

HERE IS THE LINK

Michael Riedel will assumedly also have an article for Wednesday as well on the situation.

Oh, how I wish that other mistress in my life - law school - didn't consume my time so extensively. Even if I still have time to see a show like every night and write two theater reviews, it definitely cuts back on the amount of time I have to write on the blog. So let's go over some stuff I've been waiting to write about here.

ENTER LAUGHING: THE MUSICAL/SO LONG, 174TH STREET - Again, another fantastic Musicals in Mufti staging at the York. It's come to the point where this series, spite of its low-key manner, is seriously starting to rival the quality of Encores. I recommend these staged readings without hesitation.

METROPOLITAN OPERA SHOWS - My review of LUCIA DI LAMMERMOOR will run Tuesday, but I've also recently attended AIDA and ROMEO AND JULIET. What else can compare the grand-scale of their revivals?

THE BOYFRIEND - this marked the third Musicals Tonight! staging I've seen, following a totally obscure Rodgers & Hart show three years ago (THE BOYFRIEND) and a totally obscure Cole Porter show two years ago (LET IT RIDE!). Unlike those, THE BOYFRIEND, a 1950s parody of a 1920s musical comedy, still plays very well today. I was in a high school production of the show exactly eight years ago, so I have quite an affinity for it. I saw the last performance on Sunday afternoon, which will be immediately followed by a Musicals Tonight staging of Victor Herbert's NAUGHTY MARIETTA. It was a very well-done staging, and it's a shame it received so little attention in the press.

A LITTLE NIGHT MUSIC - I've seen quite a number of college productions at NYU's Steinhardt School - CHORUS LINE, PARADE, INTO THE WOODS, MERRILY, URINETOWN and RAGTIME. If not RAGTIME, this was probably the best thing I've seen there. The Steinhardt school specializes in vocal performance, so NIGHT MUSIC was truly the perfect show for these students. The full orchestra was onstage and sounded perfect. It was a truly handsome production of the one 1970s Sondheim show that's yet to receive a Broadway revival.

FORBIDDEN BROADWAY - this will receive a print review next week, but just wanted to note how refreshing it is to attend the freshest revival of Gerard Alessandrini's long-running brilliant parody of the Great White Way.

CLICK HERE FOR COMPLETE LISTING OF CLIPS

I love how, unlike posting a clip from YouTube or Bluegobo, we can be absolutely assured these clips are not illegal.

Quick note: an unfortunate editing error occurred in the print edition of today's MAURITIUS review. I had opened my review with a quick description of all the plays in the fall Broadway schedule, one of which is the new Aaron Sorkin drama THE FARNSWORTH INVENTION.

How was that shortened? Into Aaron Sorkin's MAURITIUS.

Maybe this means I can credit FARNSWORTH INVENTION to Theresa Rebeck in that review. The original, unedited text of my review is at www.amny.com/stage.

ANYHOW...FOR THE 'SWEENEY' TRAILER LINK, CLICK HERE