So why does it say “longest running American musical?” Because Phantom is actually the longest-running musical on Broadway. Chicago is the runner up! The Phantom of the Opera, which by provenance is a British musical, makes Broadway history by going strong for over 30 years and over 13,000 performances.
Playwrights Horizons announced the release of a cast albumof Kristen Childs’ rowdy, wild, and hilarious Bella: An American Tall Tale. Hard copies of the album, produced by Michael Croiter, can be purchased at yellowsoundlabel.com and phnyc.org beginning February 22, when it will also become available digitally on iTunes, Amazon, Spotify, and Apple Music. Pre-orders are available now via iTunes.
Ashley D. Kelley (as Bella), NaTasha Yvette Williams & Kenita R. Miller. Photo by Joan Marcus
There are many wrongs and omissions that can be righted by imagination. In fact, writers create imaginary characters to construct reality and ponder points of view.
Playwright Kristen Childs is one such, who expresses so many truths in her fiction. Her current work, Bella: An American Tall Tale, at Playwrights Horizons through July 2nd, 2017 is about so much more than a big-bootied pioneer woman of color.
The African-American history of the United States is different from the one taught in schools. That’s why we have Black History Month, that 1/12th of the year where we try to set the record a little straighter. We should just let Kristen Childs do it for us.
Our review was published after the June 12th opening.
Everything has an origin story, and Chicago, The Musical, has one in this 1926 play. Maurine Dallas Watkins provided the inspiration for the show that’s been running on Broadway since forever. Like it’s lead characters, Chicago had a rocky start, opening June 3, 1975 and closing two years later on August 27, 1977; it reopened in revival in November of that year in the West End and then hit Broadway with a flair. Ann Reinking, using the Fosse style, choreographed the revival under Walter Bobbie’s direction to resounding success.
Watkins wrote Chicago for a class assignment at the Yale School of Drama. It, too, went on to have a resounding success, not least because it provided the story for the musical. The story of Roxie Hart and her fellow inmates also inspired a 1927 film named Chicago and in 1942 one named after our anti-heroine. Watkins’ version of her the tale was based on her coverage on the crime beat of the Chicago Tribune, and opened on Broadway in 1926, where it lasted for just 172 performances, under the direction of George Abbott. It’s after-life is a matter of record.
The Gingold Theatrical Group (GTG) will perform the play that spurred the famous Broadway hit on Monday, July 23rd at Symphony Space at 7pm.
It’s hard to pinpoint just what makes a “hot ticket;” it could be a star turn, or 11 Tonys or just the quirky charm of the story. Whatever it is, you might want to share it with friends or family this holiday season.
In mid-January when the Divine Miss M cedes the role of Dolly Gallagher Levi to the sterling Miss Bernadette Peters, tickets for this Broadway revival might become a tad more accessible. This in no way disparages Bernadette Peters’ enormous talent and wattage. Bette Midler just has a star shine all her own. A je ne sais quoi, let’s say, that sends tickets to see her in Hello, Dolly!! into the stratosphere. (Regular price tickets ranging from $189 may still be found at Telecharge, so check on availability, but there are premium seats for nearly $1000 and “secondary market” tickets for a lot more.)
Hamilton, Lin-Manuel Miranda’s American history lesson enthralls. It’s still at the Richard Rodgers on West 46th Street, and it’s on tour across the country. It may be its impressive Tony showing that is part of the draw. Lottery tickets go for just $10 per, but, like any lottery, it’s a gamble. Speaking of gambles, the Hamilton website warns against buying from resellers to avoid receiving fraudulent tickets, so use the regular channels for purchasing this sizzling ticket. In fact these tickets are so blistering hot that it might be next December before the family enjoys the show.
Another and different kind of civics lesson can be found at The Band’s Visit. This musical was created from the Cannes prize-winning Israeli film; you can watch the movie on Showtime cable on Wednesday 12/13 and Tuesday 12/19 at 7:30pm, by the way.
This modest musical is enjoying a very successful and prestigious Broadway transfer from its 2016 run at the Atlantic Theatre. (Tickets are hot enough that the producers are not offering any discounts, by the way. We have not checked in at the day of TDF kiosk.) The Band’s Visit has heart and warmth, and a promise of the possibility of peace in the middle east.
Reflecting on another facet of history, Junk at the L.C. Beaumont Theater, offers much less hopefulness than The Band’s Visit. The heat factor in Junk comes from its ripped off the front page view of the financial crisis of the 1980s. This is just the ticket if you want to reflect on America’s obsession with money. I found it worrisone when someone in the audience wanted to clarify who had “ratted” on the main character. Ayad Akhtar takes us back to the “greed is great” days in which malfeasance is the benchmark. His lead character “creates wealth” by creating debt. The “Junk” of his title refers, of course, to junk bonds, a vehicle by which you, the consumer, lend a corporation more money than its worth. Wall Street types will be drawn to the humor and pace of this drama. The rest of us will appreciate the concise lesson it offers in high finance and unbridled ambition. At its core, Junk, staged as a Greek tragedy, is just that, showcasing characters filled with hubris and arrogant conceit.
Visit a Broadway show over the holidays, if you can, with your nearest and dearest.
Theatricality is a fraught concept. It can just be dramatic and thought-provoking, or it can be over-the-top, dramatic and thought-provoking. Kristen Childs has written a musical that is theatrical to the nth degree. Bella: An American Tall Talealso gives us a little slice of African-American history mixed in with the fable.
Politics and theater are getting a bad rep. Actually politics and their practitioners have had a reputation for honesty meaning any means that is necessary, aka I’ll lie if I have to, and theater has always been a forum for exposing truths. Ms. Nixon stirred the political pot a tiny bit in her acceptance speech at the 2017 Tony Awards Ceremonies. Now, it is the mixing of politics into theater that has caused quite the controversy (see what is happening with The Public’s Julius Caesar for instance.) It is unwarranted. Art is meant to comment on our realities.
At any rate, one of those realities, Lost and Guided, a play by Irene Kapustina about Syrian refuges in their own words, is on view at Conrad Fischer and The Angle Project, at Under St Marks (94 St. Marks Place, from August 3 through 27th. For tickets, click here.
A similar but perhaps more intitmate project is The Play Company’s Oh My Sweet Land another look at the Syrian refuge crisis. The play is due to launch this fall in private homes and communal spaces where people have been invited to host this multi-sensory experience. Those wishing to participate by providing a venue can do so by filling out the questionnaire here. Nadine Malouf stars, perhaps in your own kitchen, in Oh My Sweet Land, a play developed by Amir Nizar Zuabi with German-Syrian actor Corinne Jaber.
Shakespeare wrote plays reflecting timely events, for his time and all times. This may explain why The Public is in such hot water over their production of Julius Caesar. The brouhaha, perhaps like the staging, is way out of proportion. In Measure for Measure, Shakespeare also explores issues to do with power and justice. Theatre for a New Audience is presenting a new modernized staging by Simon Godwin from June 17th through July 16th. Tickets for this show which will be held at Polansky Shakespeare Center in Brooklyn are available at TFANA’s website.
Henrik Ibsen had his own take on both the personal and the political. For instnace, Ibsen’s drama, An Enemy of the People is a play about populism and its discontents.
An Enemy of the Peoplecomes to us from the Wheelhouse Theater Company under the direction of Jeff Wise, at the Gene Frankel Theater, beginning June 9th and running through June 24th is conceived as a meditation on the “tyranny of the majority.”
Following on the success of Ibsen’s feminist tale as revisited by Lucas Hnath in A Doll’s House, Part 2, see the US Premiere of Victoria Benedictsson’s 1887 Swedish original, The Enchantment in a new English translation and adaptation by Tommy Lexen. Ducdame Ensemble introduces us to the woman behind Ibsen’s Nora; Benedictsson, who wrote under the pen name Ernst Ahlgren, was not only Ibsen’s inspiration but also Strindberg’s for Miss Julie. The Enchantment opens at HERE on July 6th, with previews beginning June 28th.
Dystopia is the normal atmosphere of an Ibsen play. It is poignantly a main event in the classic 1984. George Orwell’s novel in which Big Brother government controls its citizens has been turned into a play by the same name. The play by Robert Icke and Duncan Macmillan was first performed in 2013 at England’s Nottingham Playhoouse. 1984 , a place where mind control involves convincing us that up is down, “freedom is slavery,” is now at Broadway’s newly renovated Hudson Theatre, with an opening on June 22nd, and starring Olivia Wilde and Tom Sturridge.
Myth making is history’s fake news, but all good fictions share a grain of truth.
Kristen Childs’ Bella: An American Tall Tale, at Playwrights Horizons through July 2nd. Directed by Robert O’Hara (auteur and director of Bootycandy (Fall 2014) also @PHnyc) and choreographed by Camille A. Brown, is a big new exuberant musical in which the cowboy truths are told from the African-American perspective. Childs’ Bella is a legend-making story, relating history through fantasy.
Bella (Ashley D. Kelley) is young and on the run. Her naiveté, like that of Voltaire’s Candide, is infectious as is her giggle. She leaves Tupelo after a confrontation with a plantation owner, Bonny Johnny (Kevin Massey) that has put a price on her head.
Bella, one of a long line of strong women, is sent off under an assumed name by her mother (Kenita R. Miller) and her aunt Dinah (Marinda Anderson); her grandmother (NaTasha Yvette Williams) urges her to remember who she is. She is also aided by the spirit of an ancestor her grandma (also played by Williams) invokes.
It’s nearly 1880, and Bella heads out to reunite with her Buffalo soldier, Aloysius (Britton Smith.) Kelley’s charm, by the way, is as big as Bella’s fabled behind.
Bella meets various larger-than-life characters on her way. As is her custom, Bella weaves ever taller fables about their fates. These include a Mexican caballero named Diego Moreno (Yurel Echezarreta) and a Chinese cowboy, Tommie Haw (Paolo Montalban).
A Pullman Porter whom Bella calls Mr. Porter, and who is actually called Nathaniel Beckworth (Brendon Gill), is her protector and confidante on the train ride west.
The Western setting is a natural for the rough and tumble (and rugged) entertainment Bella: An American Tall Tale gives us.
The music and lyrics (along with the book, all from Ms. Childs’ creative imagination) propel the plot, as they should in a well-ordered musical. Ms. Childs’ provides the vocal arrangements with orchestrations by Daryl Waters; the band is under the musical direction of Rona Siddiqui. Hoedown and hootenanny further serve to tell this whopping yarn. Ms. Childs’ songs range from funny/silly to interpretive to poignant.
Camille A. Brown’s terrific choreography, executed beautifully by the exceptional cast also furthers not just the plot but helps define the characterizations.
Kenita R. Miller as both Bella’s mother and the very proper Miss Cabbagestalk whom Bella meets on her journey, is outstanding. In all fairness, the entire cast, many in multiple roles, is superb. Olli Haaskivi does a nice turn as a stuttering circus announcer (and a bandit named Scooter). Jo’Nathan Michael and Gabrielle Reyes (as Mr. and Mrs. Dimwiddie respectively) do a wonderful bit when they step out of the chorus to play a couple who narrates in awe what they have just seen.
Robert O’Hara directs the spirited tale with vigor and originality. The actors give voice to Kristen Childs’ vision of the adventures of Bella Patterson, or is Johnson. The costumes by Dede M. Ayite are inspired and inspiring. The seemingly simple set (by Clint Ramos) gives color to the staging and is evocative.
Black history is an unacknowledged footnote to the history we’ve been taught in school. It’s good to see it be the main event as it is in Bella: An American Tall Tale.
For more information and tickets for Bella: An American Tall Tale, please visit the PHnyc website.
Veteran musicians Rob Taylor and Richard Oberacker, the playwrighting team that brings us Bandstandpen their first big Broadway show with this production. They have written many other works, but as Mr. Oberacker puts it “you’ve never heard a thing about.” Mr. Taylor says he’s delighted to be a new Broadway “face” after years working in the pits all over town.
It’s not surprising that veterans appreciate how their experience are represented in this musical. The veterans in Bandstand come back to a world that wants it to be “Just Like It Was Before.” They have to fight to get a fair shake, even as civilians pay lipservice in thanking them for their service.
Bandstand, at least from our perspective, looks like it should win the big prizes at this year’s Tony Awards® Before the May 2nd announcements, however, it has received great notices but nominations only for Laura Osnes and for Andy Blankenbuehler’s lovely choreography. Oberacker’s music and his and Taylor’s book also got the nod. Corey Cott did not get the nod as best actor in a musical. Likewise, Beth Leavel did not get the recognition we feel she deserves. The record for number of Tony wins by a musical is in the hands of The Producers, with Hamilton a mere 2 behind. We really expected Bandstand to meet or beat the record of 13. The very talented Corey Cott got no recognition at all this awards season, and we are bummed.
Bandstand has not received the Tony recognition we feel it deserves. Not by a long-shot.
With only 2 nominations, Bandstand, The New American Musical is greatly undervalued. Congratulations to director Andy Blankenbuehler, nominated for his choreography, and to the orchestraters Bill Elliott and Greg Anthony Rassen for their well-deserved Tony nods.
History lives through the music of an era and its lessons often resonate with us across our own times.
Bandstand, at the Bernard B. Jacobs Theatre in an open run takes us back to the swing era just after WWII. America is on a road to recovery, as veterans are returning from overseas battles.
Big-band music, written by Richard Oberacker (music, book and lyrics) and Robert Taylor (book and lyrics), is a welcome and original addition to the big Broadway musical mix. Bandstand, with orchestrations by Bill Elliott and Greg Anthony Rassen, is indeed, as it claims, The New American Musical. Jazz is the all-American musical idiom, after all, and this blockbuster is jazzy.
The music devised to cheer up a post war world offers a big backdrop for a big-hearted theatrical feast.
On its face, the story has an old-fashioned movie plot feel, but Bandstand goes much deeper. Donny Novitski (Corey Cott) comes back from fighting overseas to create a band with his fellow vets. He teams his band mates with a lovely war widow, Julia Trojan (Laura Osnes) and enters them in a national contest. He intends to win. After this, lots happens to change it from the ordinary. Suffice it to say, you will enjoy the twists, which we won’t reveal.
The band Donny puts together include the level-headed Jimmy Campbell (James Nathan Hopkins) and the charismatically off-the-rails Davy Zlatic (Brandon J. Ellis). Each man leads him to another one who served. Nick Radel (Alex Bender) is an ambitious horn player. The shell-shocked Wayne Wright (Geoff Packard) attempts to reset the world by tidying everything he touches. Johnny Simpson (Joe Carroll) still keeps time with his drums, but is locked in to a moment in time.
Donny’s–check that– their fallen comrades people their on-stage memories and act as inspiration for the band.
Each of these talented actors plays his instrument in the on-stage band, backed by a full-pit orchestra under Fred Lessen’s baton.
The songs that Rob Taylor and Richard Oberacker have created for the show move the story along, and tell it in so many special moments. Julia’s mother, Mrs. June Adams (the wonderful Beth Leavel) has one great one, when she encourages her daughter with a particularly apt tune, “Everything Happens” in the second act.
Bandstand is directed and choreographed by Tony-winner (for choreography for Hamilton) Andy Blankenbuehler. Both his direction here and his choreography for the large ensemble are memorable. The Jacobs theater is chock-full with talent, and sound, and dancing. In fact, this joint is jumping. Watch the jitterbug explode on stage.
The costumes by Paloma Young are terrific; the sets by David Korins magically represent the places in the story.
In emotional and stirring roles, Osnes and Cott are overwhelming and genuine, as are the rest of the cast. Of course, they also shine as musicians and singers. Bandstand is a thrill and a gas.
After 11,000 performances, a musical drama could be forgiven if it began to show some wear. In theater time, a run of more than 25 years is a very long lifetime.
The Phantom of the Opera, in its 27th year on Broadway, at the Majestic Theatre, hasn’t aged, or rather it has aged well. This is not a show resting on its laurels. Or on its worldwide success in tours all over the US, in Stockholm or Budapest or Istanbul, among the many places it has found a home.
Despite the myriad other accomplishments of his career, Phantom may prove to be Andrew Lloyd Webber’s crowning legacy. It was a breakout hit from its opening night at the Majestic in 1988, where it walked away with 7 Tony Awards, including for Best Musical, Design and Direction.
The music, by Webber with lyrics by Charles Hart, breaks over you in tidal waves of emotion. It’s lush and romantic, familiar yet very strange. Webber along with Richard Stilgoe (who has also provided some of the lyrics) fashioned the story from Gaston Leroux’s gothic novel, “Le Fantome de L’Opera.”
The Phantom of the Opera creates a world of its own; it emerses us in it. Through our willing suspension of disbelief, we descend into this netherworld of fantastical creatures and objects masterminded by the fiendish Phantom (James Barbour.) The story takes us into a Paris opera house haunted by a frighteningly demanding ghost. The Phantom’s obsession with a young soprano, Christine Daaé (Kaley Ann Voorhees) overwhelms him. She mistakes the monster for “the Angel of Music” her father promised to send her. At first, she is deceived by the Phantom’s exacting taste and guided by his instruction. When a childhood love, Raoul, Vicomte de Chagny (Jeremy Hays) becomes a patron for the Opera House, the Phantom’s jealousy has diabolical consequences.
There are many pleasures in revisiting Phantom, not the least of which is seeing the excellent cast and operatic staging. Hal Prince directs the players, while Gillian Lynne provides the musical staging and choreography. The production is designed by Maria Björnson.
The large ensemble proffers many delightful performances, with Michelle McConnell as the diva, Carlotta Giudicelli, the Phantom shuns in the opera within the musical, just one of many.