Welcome to Geek Out/Freak Out, where theatre fans get super enthusiastic about things.
This week, Stages editor Mark Blankenship geeks out (via Gchat) with Mark Peikert, executive editor of Backstage
Today’s Topic: Which performances from the Tony Awards do you watch the most on YouTube?
Mark Blankenship: Hey there Mark! I’m glad you could sneak away from your editorial desk at Backstage to spend a few minutes discussing what really matters. Namely, the Tony performances we love watching over and over on YouTube.
Mark Peikert: It doesn’t really take any sneaking away; I’d be watching the Tony Awards on YouTube regardless of whether I was speaking to you or not. What did we DO before YouTube? Well, actually, I know: I taped every Tony Awards telecast and rewatched my favorite numbers over and over again.
Mark B.: Same here! It was a miraculous day when I learned you could set the VCR to SLP and squeeze even more stuff onto a tape. But now that we have the Internet, which performances do you find yourself revisiting?
Mark P.: I think the one I rewatch the most frequently is Bernadette Peters singing “Rose’s Turn”—just before she lost to Hairspray‘s Marissa Jaret Winokur.
Mark B.: An upset that reverberated through my graduate school, I can assure you.
Mark P.: Because when she comes out and sings-screams, “And I’ve got it!” she’s not just in character; she’s telling Michael Riedel and all the other gossip vultures who basically destroyed her in the press that she was up to the challenges of the role. And then she PROVED IT and got a standing ovation AT THE TONY AWARDS.
Mark B.: Oh man. Clearly, this entire conversation is going to result in me spending three hours watching clips later.
Mark P.: Also, I know it’s blasphemy, but I vastly preferred Peters’ Mama Rose to Patti LuPone’s. There I SAID IT!
Mark B.: Be brave! Walk in your truth! I liked them both, but I never saw Peters live. So I feel like I can’t really compare. Meanwhile, I’ve got two performances that tie for my most-viewed ribbon.
The first is Fantasia singing “I’m Here” from The Color Purple.
There really was no good reason for her to perform, since the show wasn’t even eligible that year, but within two seconds, it’s clear that rules and timing do not matter. You can feel her teaching everyone in the room a lesson. The depth of raw feeling in that performance, with the emphatic grunts in especially emotional moments, is sensational. And I loved LaChanze in the role, too, but clearly, Fantasia had her own story to tell. And it seems like she’s wearing braces? Which just makes it better.
Mark P.: Now I’m the one who’s going to lose my day down a rabbit hole!
Mark B.: Oh, if you do… PLEASE watch this clip of Fantasia’s final performance of “I’m Here” on Broadway. The audience basically sets up a tent and has a revival.
I’m wondering if you’ve seen my other selection, which is Michael Jeter and Brent Barrett performing their “drunks at the bar” dance from Grand Hotel? [Read more →]
October 17, 2014 2 Comments
Welcome to Geek Out/Freak Out, where theatre fans get super enthusiastic about things.
This week, Stages editor Mark Blankenship geeks out (via email) with his friend Christie Evangelisto, the Literary Director of Signature Theatre Company.
Today’s Topic: Which recent plays deserve another production in New York?
MARK BLANKENSHIP: So Christie… I was psyched to hear that Signature is this year’s winner of the Regional Theatre Tony Award, not least because you guys produce such a lively mix of new plays and slightly older works by the playwrights in your Residency One program. And as much as I love the new stuff, sometimes I’m grateful for the chance to revisit something from the past. Like… you’re reviving Chuck Mee’s Big Love next year, and I will never forget seeing that play in Atlanta when I was in college. I loved it, but since it didn’t win a Pulitzer Prize or become a movie or dazzle a Broadway crowd, I figured I would never see another professional production of the show.
That happens to a lot of plays, you know? After they get that one New York production and maybe some regional premieres, they disappear forever. So I’m glad that a company like Signature or Second Stage will occasionally step in and bring something back to our attention here in New York.
CHRISTIE EVANGELISTO: Yes, the Tony has been really exciting for us, especially since this is the first year that New York-based theatres were eligible. And because there’s been so much transition at Signature lately, between our fancy new building and the introduction of the Residency Five program, it’s nice to come out on the other side of all of that and be recognized with an award.
And you’re right, what happens to plays after that first production is something we talk and think about constantly. When putting together a Residency One season, we’re always on the lookout for the play that got short shrift the first time around, or the play that feels as fresh and timely now as it did then, and deserves a new audience. Some of my favorite experiences at Signature have involved working on new productions of plays that warranted another look… like Edward Albee’s The Lady From Dubuque, David Henry Hwang’s Golden Child, Horton Foote’s The Old Friends. You know I love me some new plays, but dusting off a magnificent play like Lady From Dubuque that very few people even knew existed feels really good.
MARK: With that in mind, I was hoping you’d join me in nominating some “lost recent classics” that deserve another look. And just for sanity’s sake, let’s stick to plays (not musicals) that premiered after 2000.
My first nominee is Christopher Shinn’s On the Mountain, which I distinctly remember discussing with you in front of a Gray’s Papaya almost a decade ago. (If you need, you can pause to wipe a tear at that beautiful memory.)
Way back in 2005, I just randomly happened to see it at Playwrights Horizons because the show next door, Shockheaded Peter, was sold out. And then… boom. The play transported me. It’s ostensibly about a rock fan who’s trying to gather info about a dead, Kurt Cobain-esque musician, so he insinuates himself into the life of NotKurt’s ex-girlfriend and her daughter. But what I really remember is how smart the play was about technology. At the time, you couldn’t open a window without hearing somebody insist that the internet was going to alienate everyone from each other, turning us into hopeless, lonely monsters. But On the Mountain had a much more sensitive understanding of how modern technology can both push us apart and pull us together. And I remember being so grateful that this play just got that. That it had something to say about the connected world that didn’t default to the terrified certainty that machines would devour our souls.
And I’d love to see the play again, now that our relationship to online technology has evolved even further. What might we hear in Shinn’s script this time that we couldn’t before? Do you know what I mean? Do you remember this show and/or have feelings about it?
June 3, 2014 14 Comments
In showstopping performances, Dee Dee Bridgewater and Adriane Lenox evoke the legends of jazz and blues
Welcome to Building Character, TDF’s ongoing series on actors and how they create their roles
There isn’t a cigarette girl or a cigar in sight, but you can almost imagine spectral blue smoke surrounding the two Tony Award-winning actresses currently evoking a bygone era of African-American nightclub culture on separate stages in New York City. In Broadway’s After Midnight and Off-Broadway’s Lady Day, Adriane Lenox and Dee Dee Bridgewater, respectively, exist in an atmosphere so thick with moody jazz and hazy blues that their stages seem set for the conjuring of spirits.
In Lady Day, writer-director Stephen Stahl’s backstage musical about tragic blues singer Billie Holiday, Bridgewater (who won her Tony for playing Glinda in The Wiz) makes her star entrance through the stage door of a London theatre where Billie is rehearsing in a bid for a 1954 comeback. Thunder, rain, and lightning accompany her into the space, eerily suggesting the emotional tumult to come. In between songs (the score includes “Lady Sings the Blues,” “Strange Fruit,” “All of Me,” and 23 others), Billie loses herself in scenes that recount her broken childhood.
Does Bridgewater (pictured above right) feel Billie’s presence at the Little Shubert Theatre, or does the actress not go there?
“Oh, I go there,” Bridgewater says. “When I’m getting ready to go on, I say, ‘OK, Billie, let’s go.’ My deal with Billie this time is that she can share my body, not take it over.”
In the 1980s, Bridgewater played an earlier version of the show in Paris (in French, no less!) and London. The actress explains, “In London, she kind of took over. Toward the end of my run at the Picadilly, I was getting fan mail addressed to Billie Holiday. People who had seen her or knew her would come backstage and say, ‘I did not see you, I saw Billie.’ That was pretty traumatic. Now I try to leave her at the theatre and join her at the theatre when I go into my dressing room.”
Bridgewater’s turn is part of her career-long commitment to exploring the heritage of jazz singers. She won a 2011 Grammy Award for Best Jazz Vocal Album for her Eleanora Fagan (1915-1959): To Billie With Love From Dee Dee, and an earlier Ella Fitzgerald tribute disc was also Grammy-anointed.
Still, Bridgewater admits that when she first heard Holiday’s gravelly voice on LPs, many years ago, the sound turned her off. “I thought her voice was small, too nasal,” she recalls. “I was of the impression that if you’re gonna be a jazz singer you have to know how to scat, and she didn’t scat.”
But then Bridgewater stumbled across Holiday’s autobiography, Lady Sings the Blues. She admits, “I was really struck by her life and…I could identify with a lot of the pain that she had gone through. That’s what grabbed me. [When] I was asked to do Lady Day in Paris, I did a lot of investigative work. She’s been in me since then, been a part of me.” [Read more →]
October 29, 2013 No Comments
Sheldon Harnick and Margery Gray Harnick create a book about the city
Margery Gray Harnick’s photographs offer three visions of New York at the same time.
There’s the city as a landscape, packed with buildings and treelines and sky; there’s the city as a community, full of tourists and natives hustling on their way; and there’s the city as a private story, brimming with details that have shaped Harnick’s life.
Those overlapping identities define The Outdoor Museum, a collection of Harnick’s photographs paired with poems by her husband, Sheldon Harnick. Taken together, the words and images ask us to reexamine how we look at the city. A mannequin, say, can be more than just a figure in a window. It can change how we see the people walking past it. Even a grimy puddle on the street can reflect a nearby building, making it look like a wavering mirage.
April 25, 2013 No Comments
Why Warren Carlyle makes the dancing in “Drood” accessible
In the musical The Mystery of Edwin Drood, currently at Studio 54 in a revival from the Roundabout, it’s crucial for the audience to have a good time. After all, they’re the ones writing the ending.
The premise is this: A troupe of actors greets the audience, thrilled to share the most ambitious project of their careers—a retelling of Dickens’ unfinished murder-mystery, which centers on the disappearance of a man named Edwin Drood. After watching Dickens’ incomplete story, the audience chooses how the mystery ends. Librettist-composer Rupert Holmes has written dozens of final scenes, and the cast is prepared to perform any of them, depending on whom the audience votes for.
When it clicks, Drood crackles with mischief, and that’s what hooked Warren Carlyle, who choreographs the current revival. “I responded to the humor of this show,” he says. “And the involvement of the audience in the actual plot is so special. The audience is almost another character, and that felt original to me.”
January 30, 2013 1 Comment