Barnum is a musical based on the life of the great American impresario and showman P.T Barnum. It debuted on the Broadway stage in 1980 and went on to be nominated for 10 Tony awards, it won 3. The show starred Jim Dale of 'Carry On' fame, if you are from the UK, or if you are from the USA you will know him for his huge work load on Broadway and of course for his audio recordings of the Harry Potter novels for which he has won two Grammy Awards. Playing the female lead was Glenn Close who is best known for winning three Tony awards and playing the intense bunny boiler in 'Fatal Attraction'. The show, on Broadway, mixed circus skills with traditional staples of musical theatre and Jim Dale apparently walked tightropes, rode unicycles, juggled and much much more during the first run. If an actor ever worked his socks off to win the Tony it is Jim Dale! Don't believe me? Look at his performance from the Tony awards, the second number in the video, no circus tricks but the energy he expends in this excellent song is infectious.
So it was a critical success... on Broadway. Following its run on the 'Great White Way' it went on tour and without the big spectacle that a Broadway production can afford it became obvious that the show was quite hollow.
I saw Barnum in the 1990s at the Pavillion Theatre, Worthing. I believe it was 1993 or it may have been 1994, I would have been 8 years old. I remembered it as soon as I heard the opening strains of the overture. The tour I saw starred Paul Nicholas as Barnum and he was electric in the role but the play was to me, as a child, rather dull.
Saying all that, listening to the soundtrack is wonderful. It is a slice of classic Broadway withbombastic music, colourful melodies and the best of good old fashioned American style musical theatre. Some of the tunes can seem dated but this is because it is a period piece and as such is pretty timeless which is something I cannot say for the majority of Lord Lloyd Webbers musicals. I highly recommend this soundtrack on the strength of Jim Dale's charismatic and enigmatic performance. Follow the Band is amazing as a bonus track and the whole album sounds perfect for something which is now 32 years old. I have not listened to the West End version of the play soundtrack, starring Michael Crawford, but will be reviewing it at a later date. That production, produced at the London Palladium, seems to be a carbon copy of the Broadway production barring the performers of the show.
So seek out this wonderful soundtrack... and in the meantime thanks to the Comedy Theatre, Melbourne why don't we all 'Come Follow The Band'...
Considering the news last week regarding Sean Hayes it seems Broadway has come out to support him. It has been revealed that he will be presenting this years Tony Awards, something which I am sure will go down very well. With his natural charisma and energy he is a great choice of host, he is also up for honors as 'Best Male Actor in A Musical' for which he has plenty of competition but I say good luck to him.
In a Week when the final part of the true Golden Era of Broadway came to a close with the sad death of the last Zeigfield Folly, she passed away at the age of 106, two stories were released which gave a fascinating look at both the success and dark side of Broadway. The first which caught my eye was the news that during the 2009-2010 season Broadway has generated nearly $10 billion worth of revenue for New York city. According to the Broadway League this has included the support and creation of over 84000 jobs and generated nearly $500 million in New York taxes which really makes me smile and goes to prove a very big point on the arts. A good arts sector, not just theatre but all types of arts, can increase an economy and here in the UK the arts sector in London I am sure does produce a vast amount of revenue and taxes just like on Broadway it is just that it is harder to find the results. (When I say harder that is due to the fact that getting all those reports is simple if you are willing to fork out £50 for The West End Theatre Report which can be viewed here)
Of course the $10 Billion isn't just on money spent going to shows, watching the plays, buying the intermission drinks and programmes etc. This is money that goes into Hotels and Restaurants proving that the Theatres and the Great White Way actually generate more business for New York City. When the figures are analysed it turns out that 96% of the money spent on Broadway is from people outside the city which also proves that despite the Global Recession the tourist industry is still strong within America and that people around the World are still choosing to experience what Broadway has to offer. This does give me hope that The West End is doing the same over here in the UK and Europe but until I get to see any figures (I am still searching for alternatives to the official book of reports) I won't be able to go much further. Of course an economical contribution of $10 Billion may not be a figure we will be heading towards in the UK but it will still most likely be a substantial amount of money.
Now whilst this is brilliant news after all in todays economic market a product or industry that provides that amount of money to just one major city is a great boon, however it seems that America and its conservative values and opinions are starting once again to rear their ugly head within the industry.
Last week an American critic criticised the homosexual actor Sean Hayes, famous for his portrayal of the ultra camp and gay Jack in Will & Grace, couldn't 'Cut it' playing a straight man. Now Hayes is currently playing the role of Chuck Baxter the eternal bachelor from the Billy Wilder film 'The Apartment' which is what 'Promises Promises' the play in which Hayes is performing is adapted from. GLAAD have obviously become very angry about the situation and demanded an apology however there are still some question as to how good Hayes is and whether or not he can pull off a straight character. Of course he can be a straight character, if Eric McCormack can play a gay character in the same show that shot Hayes to fame then why shouldn't Hayes play a straight man? Reviews for the show are not great that is true but it seems to be that the general consensus is A) The show is very dated and that is the reason it hasn't been revived for 40+ years B) Sean Hayes performance is brilliant and nothing like the OTT camp act that he has been stuck doing for years. The fact is that despite the changes in our western society regarding the attitudes towards homosexuality there is still, despite our industry being filled with people from all racial, economic and sexual backgrounds, this pervading belief that homosexuals either have an agenda or cannot play certain types of character is wrong and has no place in the 21st century. It is just a sad indictment of how little progress some people have made over the past 50 years.
To see what GLAAD have to say about the article please click here.
To see the other two articles then please click here and here.
Ok so the Tony award nominations were released yesterday and they are interesting to say the least. I should point out that whilst this blog doesn't focus on Broadway and the american theatre in general the happenings in the USA do effect the Theatre here in the UK. Tony award winning shows and Tony nominated shows generally get at least a chance to be considered for our London stages just as our Olivier Awarded shows get a chance for a Broadway transfer. So with that in mind here are the nominations and I am going to comment on a couple of those nominations.
Nominees for the 64th Annual Tony Awards follow:
Best Play
In the Next Room or the Vibrator Play
Author: Sarah Ruhl
Next Fall
Author: Geoffrey Nauffts
Red
Author: John Logan
Time Stands Still
Author: Donald Margulies
Best Musical
American Idiot
Fela!
Memphis
Million Dollar Quartet
Best Book of a Musical
Everyday Rapture
Dick Scanlan and Sherie Rene Scott
Fela!
Jim Lewis & Bill T. Jones
Memphis
Joe DiPietro
Million Dollar Quartet
Colin Escott and Floyd Mutrux
Best Original Score (Music and/or Lyrics) Written for the Theatre
The Addams Family
Music & Lyrics: Andrew Lippa
Music: Adam Cork
Lyrics: Lucy Prebble
Fences
Music: Branford Marsalis
Memphis
Music: David Bryan
Lyrics: Joe DiPietro, David Bryan
Best Revival of a Play
Fences
Producers: Carole Shorenstein Hays and Scott Rudin
Lend Me a Tenor
Producers: The Araca Group, Stuart Thompson, Carl Moellenberg, Rodney Rigby, Olympus Theatricals, Broadway Across America, The Shubert Organization, Wendy Federman/Jamie deRoy/Richard Winkler, Lisa Cartwright, Spring Sirkin, Scott and Brian Zeilinger
The Royal Family
Producers: Manhattan Theatre Club, Lynne Meadow, Barry Grove
A View from the Bridge
Producers: Stuart Thompson, The Araca Group, Jeffrey Finn, Broadway Across America, Olympus Theatricals, Marisa Sechrest, The Weinstein Company, Jon B. Platt, Sonia Friedman Productions/Robert G. Bartner, Mort Swinsky/Joseph Deitch, Adam Zotovich/Ruth Hendel/Orin Wolf, Shelter Island Enterprises, The Shubert Organization
Best Revival of a Musical
Finian's Rainbow
Producers: David Richenthal, Jack Viertel, Alan D. Marks, Michael Speyer, Bernard Abrams, David M. Milch, Stephen Moore, Debbie Bisno/Myla Lerner, Jujamcyn Theaters, Melly Garcia, Jamie deRoy, Jon Bierman, Richard Driehaus, Kevin Spirtas, Jay Binder, StageVentures 2009 Limited Partnership
La Cage aux Folles
Producers: Sonia Friedman Productions, David Babani, Barry and Fran Weissler and Edwin W. Schloss, Bob Bartner/Norman Tulchin, Broadway Across America, Matthew Mitchell, Raise The Roof 4 Richard Winkler/Bensinger Taylor/Laudenslager Bergrère, Arelene Scanlan/John O'Boyle, Independent Presenters Network, Olympus Theatricals, Allen Spivak, Jerry Frankel/Bat-Barry Productions, Nederlander Presentations, Inc/Harvey Weinstein, Menier Chocolate Factory
A Little Night Music
Producers: Tom Viertel, Steven Baruch, Marc Routh, Richard Frankel, The Menier Chocolate Factory, Roger Berlind, David Babani, Sonia Friedman Productions, Andrew Fell, Daryl Roth/Jane Bergere, Harvey Weinstein/Raise the Roof 3, Beverly Bartner/Dancap Productions, Inc., Nica Burns/Max Weitzenhoffer, Eric Falkenstein/Anna Czekaj, Jerry Frankel/Ronald Frankel, James D. Stern/Douglas L. Meyer
Ragtime
Producers: Kevin McCollum, Roy Furman, Scott Delman, Roger Berlind, Max Cooper, Tom Kirdahy/Devin Elliott, Jeffrey A. Sine, Stephanie P. McClelland, Roy Miller, Lams Productions, Jana Robbins, Sharon Karmazin, Eric Falkenstein/Morris Berchard, RialtoGals Productions, Independent Presenters Network, Held-Haffner Productions, HRH Foundation, Emanuel Azenberg, The John F. Kennedy Center for the Performing Arts, Michael Kaiser, Max Woodward
Best Performance by a Leading Actor in a Play
Jude Law, Hamlet
Alfred Molina, Red
Liev Schreiber, A View from the Bridge
Christopher Walken, A Behanding in Spokane
Denzel Washington, Fences
Best Performance by a Leading Actress in a Play
Viola Davis, Fences
Valerie Harper, Looped
Linda Lavin, Collected Stories
Laura Linney, Time Stands Still
Jan Maxwell, The Royal Family
Best Performance by a Leading Actor in a Musical
Kelsey Grammer, La Cage aux Folles
Sean Hayes, Promises, Promises
Douglas Hodge, La Cage aux Folles
Chad Kimball, Memphis
Sahr Ngaujah, Fela!
Best Performance by a Leading Actress in a Musical
Kate Baldwin, Finian's Rainbow
Montego Glover, Memphis
Christiane Noll, Ragtime
Sherie Rene Scott, Everyday Rapture
Catherine Zeta-Jones, A Little Night Music
Best Performance by a Featured Actor in a Play
David Alan Grier, Race
Stephen McKinley Henderson, Fences
Jon Michael Hill, Superior Donuts
Stephen Kunken, Enron
Eddie Redmayne, Red
Best Performance by a Featured Actress in a Play
Maria Dizzia, In the Next Room or the Vibrator Play
Rosemary Harris, The Royal Family
Jessica Hecht, A View from the Bridge
Scarlett Johansson, A View from the Bridge
Jan Maxwell, Lend Me a Tenor
Best Performance by a Featured Actor in a Musical
Kevin Chamberlin, The Addams Family
Robin De Jesús, La Cage aux Folles
Christopher Fitzgerald, Finian's Rainbow
Levi Kreis, Million Dollar Quartet
Bobby Steggert, Ragtime
Best Performance by a Featured Actress in a Musical
Barbara Cook, Sondheim on Sondheim
Katie Finneran, Promises, Promises
Angela Lansbury, A Little Night Music
Karine Plantadit, Come Fly Away
Lillias White, Fela!
Best Scenic Design of a Play
John Lee Beatty, The Royal Family
Alexander Dodge, Present Laughter
Santo Loquasto, Fences
Christopher Oram, Red
Best Scenic Design of a Musical
Marina Draghici, Fela!
Christine Jones, American Idiot
Derek McLane, Ragtime
Tim Shortall, La Cage aux Folles
Best Costume Design of a Play
Martin Pakledinaz, Lend Me a Tenor
Constanza Romero, Fences
David Zinn, In the Next Room or the Vibrator Play
Catherine Zuber, The Royal Family
Best Costume Design of a Musical
Marina Draghici, Fela!
Santo Loquasto, Ragtime
Paul Tazewell, Memphis
Matthew Wright, La Cage aux Folles
Best Lighting Design of a Play
Neil Austin, Hamlet
Neil Austin, Red
Mark Henderson, Enron
Brian MacDevitt, Fences
Best Lighting Design of a Musical
Kevin Adams, American Idiot
Donald Holder, Ragtime
Nick Richings, La Cage aux Folles
Robert Wierzel, Fela!
Best Sound Design of a Play
Acme Sound Partners, Fences
Adam Cork, Enron
Adam Cork, Red
Scott Lehrer, A View from the Bridge
Best Sound Design of a Musical
Jonathan Deans, La Cage aux Folles
Robert Kaplowitz, Fela!
Dan Moses Schreier and Gareth Owen, A Little Night Music
Dan Moses Schreier, Sondheim on Sondheim
Best Direction of a Play
Michael Grandage, Red
Sheryl Kaller, Next Fall
Kenny Leon, Fences
Gregory Mosher, A View from the Bridge
Best Direction of a Musical
Christopher Ashley, Memphis
Marcia Milgrom Dodge, Ragtime
Terry Johnson, La Cage aux Folles
Bill T. Jones, Fela!
Best Choreography
Rob Ashford, Promises, Promises
Bill T. Jones, Fela!
Lynne Page, La Cage aux Folles
Twyla Tharp, Come Fly Away
Best Orchestrations
Jason Carr, La Cage aux Folles
Aaron Johnson, Fela!
Jonathan Tunick, Promises, Promises
Daryl Waters & David Bryan, Memphis
Now we have got the nominations out of the way its time to talk about a couple of them. I will start with the nomination for best performance by a Leading Actor in a play for Jude Law. Long time readers of HeadTheatre may remember an article I wrote in October of last year named Jude Law: Hamlet in which I analysed Jude Law's work on Broadway and the reaction he was getting, I criticised him and his type of film actor as people who use the theatre for credibility. I would like to apologise and congratulate Jude for his nomination, as I said in my article at the time he was receiving decent notices praising his work and I was surprised to hear that but also very happy to hear it and now I am glad his work has been nominated. Good for Jude and again I wish we had seen it at the Donmar when it was on in London.
I would also like to congratulate Douglas Hodge for his nomination for best leading actor in a musical for his performance in La Cage Aux Folles. Having seen Hodge perform in Guys and Dolls, as Nathan Detroit, back in 2005 I have been following his career to see how he does and the clips shown on British TV for LCAF during its West End run showed that Hodge is one of our top actors at the moment. He moved with the production to Broadway for its New York run and I am really happy that he has gotten this international recognition.
The other two nominations I want to talk about are for Nathan Lane and American Idiot.
American Idiot, based on the album by Green Day, is a Rock Opera in the same vein as Tommy. I have been waiting for this show for years, when the album originally came out I was so excited by the talk of a Rock Opera and I have been waiting to hear about it for the past 5 years. It opened on Broadway just two weeks ago and has already garnered this nomination alongside many favourable reviews. So knowing how Broadway is now utilising the world wide web I headed over to youtube for a gander and this is what I found.
I instantly felt like I was watching a little bit of WWRY but then also a little bit of RENT. It seems full of that anguish that RENT has and the unending happy teen bopping that WWRY was so guilty of. Not knowing where the show really will go means that I am unable to truly give a meaningful critique of its style etc. However being a piece written by, including the book, an international band means the liklihood of either a film deal or West End run being brokered increases the chance that at some point I will see this piece of new Rock Opera. I am most interested to see how much of the albums criticism of American society will have made it into the show. None the less even if the show doesn't win the Tony I predict a long run on Broadway.
The other nomination was for a favourite of mine, Nathan Lane. Lane has for me been the most entertaining american broadway star I have seen for years. His work both in film and onstage has kept me laughing for many years and I am really happy he has been nominated yet again. It did however surprise me considering that this $15 million production, The Addams Family, is a huge artistic flop with Lane being the only good thing in the entire show. Having watched a clip from the Letterman show (see below) I can see why people do not like it but the American public have lapped it up and the show has been playing to mostly full houses... something virtually unheard of at the moment in the theatre industry. Only two shows have been making more money than The Addams Family and that is 'Wicked' and 'The Lion King' both massive shows that have got a very impressive following. Lane has signed on to play Gomez Addams until March 2011 and it looks like there is nothing that will stop this artistic bust becoming at the very least a moderate commercial success. I would say that if it does huge megabucks I really can see this show making its way across the Atlantic and if it does you can bet that just like when the Producers came to London that Lane will follow to fill his role and if he does I will go and get tickets just to see him.
In conclusion I would like to congratulate once more those artists I have mentioned and of course everyone else who has been nominated for a Tony Award.
On the note of awards, tomorrow I am attending 'Morecambe' at the Pavillion Theatre in Worthing and will post a review of the show on headtheatre before Saturday. There will also be a special analysis episode of Theatre from My Head reviews on youtube regarding 'Morecambe' next week.
Oh deary me, things are not so great for Sienna Miller the latest Brit to hit Broadway. Performing 'After Miss Julie' a couple of theatres down from former boyfriend Jude Law and fellow Brit Actor Daniel Craig everything could have been set for a British domination of the American stage that would have proved that once again England is setting the acting standard, alas it was not to be. Whilst Johnny Lee Miller is getting good solid reviews for his part in the production the same cannot be said of Sienna. Critics have called her 'Wooly' in this country being kind to a woman who is no veteran of the stage but in America they have savaged her. Terry Teachout of the Wall Street Journal said:
"A model turned second-tier movie star, all she does is stalk around the stage striking vampy poses. She has no more business playing a classic stage role than I have posing for the cover of Vogue."
High praise indeed but not as high as the praise the New York Times gave her, critic Ben Brantley says:
"If Julie is written as clashing chords of conflicted impulses, Ms Miller plays them like a novice at a piano, plunking down each note loudly and individually."
So poor Sienna Miller, she still has till the 6th of December in the show, providing it doesn't get shut first, and I get the feeling more American criticism is on its way.
