Posted in musicals, musicals and dramas, The Tony Awards, Tony, Tony Awards, Tony nominee, Tony winner, Tony winning play

$$ Rewarded $$

Lack of Tony® love has done to The Prom what it usually does. The show, with music by Matthew Sklar, lyrics by Chad Beguelin, and a book by Bob Martin and Beguelin and based on an idea of Jack Viertel, is set to close on August 11th.

At the Walter Kerr, across the street from the unappreciated The Prom (the cast and creatives got nods but no statuettes) is Tony® darling Hadestown, There, you will see lines waiting for tickets by lottery early on any given day. (Actual ticket distribution for Rush is around 5pm, so the folks sitting outside the theater at noon are really eager.) The musical’s ticket price skyrocketed thanks to the warm welcome it got at the Awards ceremonies. André De Shields was not the only winner from the cast of this musical, written by Anaïs Mitchell and developed with director Rachel Chavkin, also a winner that night. The scenic designer, Rachel Hauck, and the sound designer, jessica Paz, also won for their contributions to the musical as well.

Of course, if you must close, you must. The Ferryman, Broadway’s Best Play of 2019, is closing tomorrow, July 7th. Tickets for the play put it in the million dollar range over its run. Tickets for Sunday’s final performances run at $224 and up.

It’s expensive to mount a Broadway production, and that explains some of the high prices. There is also a reseller’s premium for some of the hotter shows, of course, but also the fact that demand drives costs allows the producers to write their own ticket, as it were. In fact, for the 2018-19 season, audiences ponied up an average of $123.84 for a seat at a Broadway show.

Posted in 2017 Tony Nominations, DC politics, drama, drama based on real events, historical drama, historical musical drama, historically-based musical, Ibsen, Ibsen adaptation, Kristen Childs, Playwright, Musical drama, political drama, politically inspired, politics, Shakespeare, Shakespeare in the Park, The Tony Awards, Tony, Tony Awards

Tidbits, tall tales, and short truths

EnemyPeople_IMG_1355
From The Wheelhouse Theatre’s production of An Enemy of the People, playing through June 24th. Photo by Jeremy Daniel.

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 Tale also gives us a little slice of African-American history mixed in with the fable.

In other theatrical news, not as dramatic, I believe that Cynthia Nixon and Laurie Metcalf ruined my perfect record of being wrong on the Tonys. Ah well, maybe next year.
 
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 People comes 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.
Posted in Daily Prompt, dysfunction, farce

Not my favorite kinda theater

via Daily Prompt: Farce

3494The farce has a time-honored tradition. It’s as old as the hills in art-form years. So why my personal distaste for it. Too much chaos and running about is the only thing I can point a finger at with any certainty.

  • It makes fun of convention. (✔, that works for me.)
  • It is an irritant, using comedy to point out foibles. (✔ also good as above.)
  • It can be very confusing but in a way to make you think. (✔ thinking, okay!)
  • There is always a lot of action in a farce. (✔, nothing wrong with that, either.)\
  • The average farce puts a lot of value in silliness. (✔, not an essential for me, but ok.)
  • Silliness rather than gravity or satire is the main point of farce. (X this does not attract me, particularly to slapstick or farce.)
  • They run in and out of doors, sometimes carrying sardines. (That’s it. I am not fond of that, even though RTC’s not so recent production of Noises Off was rather fun.)
  • The slamming doors thing is something I like to see reserved for household tiffs.

All that said, the farce is sometimes irrestible. Take for instance, Something Rotten!, underappreciated by the Tony voters, but valiantly drawing laughter long after the ceremonies. I loved it! In truth, it may not really be so much farce as send up. The trilogy of House and Garden brought us in, eagerly, to see all three pieces, slamming doors and all. Lend Me A Tenor is reliably as delightfully foolish as Fortune’s Fool, for instance. It Shoulda Been You is another example of the farcical theater that was marginally entertaining, and featured a fan fave of ours, Tyne Daly.

Of course, when we call something a farce, we are denigrating it, to some extent. We mean it’s ridiculous. it’s just that at the theater, the ridiculous can, so often, transcend!

 

 

 

 

Posted in musical, Musical drama

From the “Bandstand”

Just a few background facts, folks, in support of this terrific “New American Musical:”

New kids on the block 

5025Veteran musicians Rob Taylor and Richard Oberacker, the playwrighting team that brings us Bandstand pen 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.

Showing respect

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 has partnered with the veterans’ group, Got Your 6 in this production.

In the first round

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.

Reality check

Bandstand has not received the Tony recognition we feel it deserves. Not by a long-shot.

VP3With 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.

We suggest you go and Bandstand see for yourself.

Tickets and more information can be found at
http://bandstandbroadway.com/.

Posted in theater

TONY (W)rap

This TONY lament can also be seen at The Wright Wreport on VevlynsPen.com

Our Theater Blog: TandBOnTheAisle

I was wrong
Hamilton came on strong

Not seven
But eleven

Statuettes for lighting,
Orchestrations, and fighting

Cast and Lin
All win

Hamilton‘s got a token
Record’s still unbroken

Hamilton– 16 nods, 11 wins– trails
The Producers– winning 12– prevails

Their twelve wins no one’s topped
Even with just 11, Ham can’t be stopped

Try and get a ticket to see it, now– no!
That’s okay, it’ll still be there when you do go


It’s an annual ritual at VevlynsPen.com to have me flail around guessing who the winner will be on TONY’s big night. I am often wrong, and occassionally right. Congratulations, for instance, to Roundabout’s She Loves Me for a best for sets designed by David Rockwell.

But the business of TONY is a double-edged sword. The awards celebration attracts audiences– Hamilton, we might point out, did not need the boost– andthose not getting an award…

View original post 301 more words

Posted in theater, Tony Awards, Tony winner

TONY (W)rap

I was wrong
Hamilton came on strong

Not seven
But eleven

Statuettes for lighting,
Orchestrations, and fighting

Cast and Lin
All win

Hamilton‘s got a token
Record’s still unbroken

Hamilton– 16 nods, 11 wins– trails
The Producers– winning 12– prevails

Their twelve wins no one’s topped
Even with just 11, Ham can’t be stopped

Try and get a ticket to see it, now– no!
That’s okay, it’ll still be there when you do go


It’s an annual ritual at VevlynsPen.com to have me flail around guessing who the winner will be on TONY’s big night. I am often wrong, and occassionally right. Congratulations, for instance, to Roundabout’s She Loves Me for a best for sets designed by David Rockwell.

But the business of TONY is a double-edged sword. The awards celebration attracts audiences– Hamilton, we might point out, did not need the boost– andthose not getting an award are dubbed TONY losers. Yes, I know, a TONY nominee is not a loser, but if you don’t win it…. well you know. It is in the musical category that productions are particularly vulnerable. (Plays are on their own time-table; very rarely would one last even 500 performances, although it may find a revival every few years.)

Not every musical is as resilient as Something Rotten! which chugs along with only the one lonely TONY winner, Christian Borle, in its cast. From this year’s crop, On Your Feet!, the Emilio and Gloria Estefan musical, has its own special appeal, and is selling tickets through next April.

American Psycho The Musical succumbed before awards night. The luminous Bright Star is closing before the July 4th holiday on June 26th; as CBS news confirms, it did not win the awards needed to keep the public’s interest. Shuffle Along, or the Making of the Broadway Sensation of 1921, and all that Followed is telling its story through October 9th at this point. We’ll see if it gets a second wind if and when Audra McDonald returns from her intermission from the show.

Since I mentioned plays, aka non-musical ones, earlier, it is good to remember that Eclipsed might have had a longer run had it gotten more love from TONY. The Father, which won a TONY for Frank Langella’s star turn, closed on schedule on father’s day.The Humans, this year’s best play will stay open at least through the end of the year at the Helen Hayes.

What can the TONYs do to help Broadway more? Should we all ease up a little on thinking of a TONY win as the pinnacle of a production’s success? In other, maybe TONY should matter less and the play be the thing…..

Posted in comedy, drama, musical theater, theater, Tony Awards

TONY Business

Bringing home the TONY can mean the difference between shuttering a show and extending a run.

There are exceptions, notably, Something Rotten, which despite not being TONY’s BEST Musical of 2015, persists in entertaining audiences well into 2016.

There are plenty of other awards, keeping casts and creatives out late on school nights all through the spring each year. The Drama Desk and the Outer Critics add lustre to an artist’s or a show’s resume, but TONY is the ultimate Broadway party.

Tim Pigott-Smith & The Cast of King Charles III © Joan Marcus
Tim Pigott-Smith & The Cast of King Charles III © Joan Marcus

One Sunday in June–this year it’s the 12th, 8/7C televised on CBS and live from the Beacon Theatre— the theatrical community dresses up to cheer each other on. The Tony Awards celebration is Broadway’s Oscar night.

The five people and shows nominated in each TONY category are each a defacto winner, and will perpetually be labelled a Tony nominee. Anyone winning is, well, truly a winner.

Everyone loves a winner

Reed Birney, Jayne Houdyshell, Lauren Klein, Arian Moayed, Sarah Steele, Cassie Beck in a scene from The Humans. Photo by Brigitte Lacombe
Reed Birney, Jayne Houdyshell, Lauren Klein, Arian Moayed, Sarah Steele, Cassie Beck in a scene from The Humans. Photo by Brigitte Lacombe

TONY is the big get for producers, as well as for stars and the creative team. Having a Tony enhances your star power and can take your show into the next year. Subscription houses can turn a TONY into a larger patron base and the sale of additional regularly priced tickets.

The most coveted prizes in the TONY panoply are for BEST Musical, BEST Musical Revival, then for BEST Play or Revival. When a production snags one of these, it’s the producers– not the author, actors, crew or director– who take the bow, and make the speeches. The investors have had the foresight to back a winner.

Without at least a TONY nomination, shows fold their tents and make untimely exits from the Great White Way.

How long can a mere shadow mimic life or fill a Bway house?

Alex Brightman and the kid band from School of Rock - The Musical Photo by Matthew Murphy
Alex Brightman and the kid band from School of Rock – The Musical Photo by Matthew Murphy

Straight plays are less likely to fill 500 seats over the long-run, the way a musical can do. TONY is here to help, but it can only go so far. August Osage County lives on in a film version, as does Driving Miss Daisy, for instance, but how many plays have the years of success like the musicals Phantom or Chicago? For playgoers, and those involved in putting on the shows, the TONY for BEST Play and BEST Revival of a Play are still much anticipated.

All The Way, the 2014 winning BEST Play, which also won Bryan Cranston the lead actor Tony, has been turned into a much-anicipated HBO film, premiering on May 21st.

Who will win?

Akosua Busia, Lupita Nyong'o, Saycon Sengbloh, and Pascale Armand in a scene from Danai Gurira's Eclipsed, directed by Liesl Tommy. (Photo by Joan Marcus)
Akosua Busia, Lupita Nyong’o, Saycon Sengbloh, and Pascale Armand in a scene from Danai Gurira’s Eclipsed, directed by Liesl Tommy. (Photo by Joan Marcus)

Your guess may prove better than mine, but I have made some predictions and invite you to compare notes now, and then again on TONY’s night, to see how I did, and how you did. Also, follow along on VevlynsPen.com to see what I think the contest will look like. That story will be up soon.

For now, get the nominee list for the 70th Annual Tony Awards from http://www.tonyawards.com/.