Murder Ballad

Never fear, dear readers. Murder Ballad is just as raw and sexy and passionate in its downtown home as it was in midtown this past fall. Transferring seamlessly, this production, which features Rebecca Naomi Jones, John Ellison Conlee and Will Swenson reprising their roles and the lovely Caissie Levy tackling the role of Sara, sizzles and pulses as it tells the woeful tale of tangled lovers.

Written by Julia Jordan and Juliana Nash and directed by Trip Cullman, Murder Ballad is the story of Sara (Levy), a young woman who finds herself caught between her husband, Michael (Conlee), and her bad boy former flame, Tom (Swenson). The intoxicating Jones is our Narrator. 

It’s a true rock opera—the entire show is sung through and the score really does rock. As many of the cast members have been pointing out in interviews, unlike many of the rock musicals of late this one is by, for and about adults. Unlike its predecessors, in Murder Ballad rock and roll is used to express the passion and mercurial emotions of its characters (rather than as a symbol for rebellion, like in Spring Awakening, for example). I think that’s what makes this connect with adult audiences so deeply. 

An immersive experience (though not of the 360 variety like Here Lies Love), the Union Square Theatre is transformed into a bar (just like the Studio at Stage II at MTC was for the show’s autumn run) and the audience sits throughout. (Mark Wendland is the scenic designer.) There are small, cramped tables for the audience in the center, the band on one side, an actual bar (fully stocked!) on another with audience members sitting behind it and more rows of seating on the remaining two sides. 

The four players stomp and race and strut all over (including on the pool table that serves mostly as a bed but also other things, including, naturally, a pool table) and get in your face when they’re furiously and fiercely letting out their emotions. With no barriers or physical safeguards between you and the action, you connect to the goings on in a sublimely intense manner. 

Going full throttle for about 90 minutes is a superb cast. As I mentioned above, Conlee, Jones and Swenson are reprising their roles. (They and original cast member Karen Olivo can be heard on the cast recording, which is now available.) They haven’t lost a thing in the transfer, and are even more glorious than I remembered.

Conlee (The Full Monty) is layered and impassioned as the caring cuckold. Jones (American Idiot) oozes sexuality and has added several playful moments to her performance that enable us to see all the silly, sensual and serious moments Jordan and Nash have written into the show. Swenson (Hair) is nearly possessed as the obsessed Tom, bringing a dangerously irresistible machismo to the role of the exciting but bad for you lover.

And Levy (Hair, Ghost) is sensational as the conflicted Sara. She is feisty and insatiable when Sara is first with Tom (her Hair costar, Swenson) and then she softens and allows herself to become vulnerable when Sara meets Michael. She continues to walk a fine, fascinating line as Sara struggles with her life choices, all the while showing off her incredible pipes. Levy brings a new and different, more urgent energy to the show and it works wonderfully. 

Murder Ballad was the must-see show of the fall and now it is most definitely the must-see show of the summer. Though it only just opened, the show has already extended through the end of September. Run down to the Union Square Theatre to catch this sexy sweaty rocking show that is sure to be the talk of the town this summer.

(Read my review of the premiere production.)

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Visit murderballad.com to learn more about the show and to purchase tickets. 

Bonuses:

• TDF talks to Caissie Levy
• Playbill talks to Rebecca Naomi Jones
• Broadway.com catches up with Caissie Levy  

Cinderella

It may surprise you to hear me say this, but let me tell you why the revival of Rodgers and Hammerstein’s Cinderella, with a new book by Douglas Carter Beane, is actually pretty good: It’s an updated take on the classic fairy tale, with something worth latching on to for all the little girls and boys who might see it, and it has a beautiful, full score.

Beane’s new book infuses issues of social justice and though some will argue that that isn’t necessary, I like that it keeps this from being treacly, and that it actually gives you something to care about. Plus, it makes the characters, especially Topher (Prince Charming) and Ella (Cinderella), full characters, not just archetypes. 

The basics are still the same: Ella, the girl of the cinders, lives at home with and is servant to her nasty step-mother and two step-sisters (one is dim but harmless and the other sympathetic toward Cinderella). With the help of a fairy godmother, Cinderella appears at a royal ball and enchants the prince. She leaves before he can learn her true identity and the prince then spends the rest of his time trying to find her before living happily ever after. 

But here, Ella (Laura Osnes) is spunkier and more emboldened than in the Disney animated film. She’s kind and gentle, but she also listens to the social activists among her, notably Jean-Michel (Peter and the Starcatcher’s Greg Hildreth). So when she has an audience with the prince, she tells him he needs to treat his people better, that the class inequality is unfair and needs to change. 

I like this because this is a show that will be attended by lots and lots and lots of little girls. (There were at least seven school buses of kids at the performance I attended.) For some, it might be their first Broadway show. I’m heartened by the fact that these girls will see this Ella and know that there’s a different kind of princess they can aspire to be. They’ll know that they can accomplish great things and they don’t have to be just a pretty, pretty princess.

Prince Charming listens to Ella, too, because he’s actually a three-dimensional character. Topher (Santino Fontana) is an orphan and learning how to be a prince—how to be a ruler of a kingdom. (One great line from Beane’s new book: upon discovering that the man she was talking to is the prince, Ella exclaims, “Him? A world leader? But he has a heart and soul and wisdom!”) In doing so, he’s trying to figure out who he is and what his contribution to society will be. This, too, is a great lesson for the boys in the audience, and there were more than expected when I saw the show. 

Directed by Mark Brokaw (and with pretty and effective choreography by Josh Rhodes), everyone does fine work. Harriet Harris (as the step-mother) and Peter Bartlett (as the prince’s scheming consigliere) seem to relish the verbal harpoons they hurl at their unsuspecting victims. Hildreth and original Avenue Q cast member Ann Harada (as the dim, overlooked step-sister) provide comic relief. 

Fontana (The Importance of Being Earnest) is good as Topher, the floundering world leader. He has a nice voice (which is shown off better in act two), and brings a sensitive vulnerability to the role. The storybook Prince Charming this isn’t, so it’s fitting that Fontana lays off the charisma and instead goes for thoughtful and caring. 

As the fairy godmother, the alway impressive Victoria Clark (Sister Act) is radiant. She shines as she helps make Ella’s dreams come true, and her beautiful voice and spirit make you believe that nothing is “Impossible.” (She looks dazzling in William Ivey Long’s glorious costumes.)

I wasn’t anticipating liking Laura Osnes as Cinderella. First of all, I usually don’t like the ingenue or princess roles because I find them one-dimensional and unrelatable. And the last time I saw Osnes playing a role of this type (or the type I thought Ella was going to be), I didn’t care for her at all. (That would be when she was Hope Harcourt in Anything Goes.) While Osnes (Bonnie and Clyde) does look like the perfect princess—she’s impossibly pretty and has a very sweet voice—she brings layers and depth to Beane’s version of the princess, making her a full character I could root for.

Of course the real star of the musical is the score. The gorgeous Rodgers and Hammerstein score, with its lovely melodies and sometimes silly and whimsical lyrics, is full and lush, and played by a full orchestra, which is seen too infrequently these days. This score, not at all new, is the best score on Broadway this season. They don’t make ‘em like this anymore. 

  

Media Morsels 5.17.13

Casting News: Al Pacino, Robert De Niro, Bobby Cannavale and Leonardo DiCaprio... and More!

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Al Pacino will be joined by his  Glengarry Glen Ross costar Bobby Cannavale as well as Annette Bening, Michael Caine and Jennifer Garner in the upcoming film Imagine. Written and directed by Dan Fogelman (Crazy Stupid Love), Imagine is based on the true story of a musician (Pacino) who, inspired by a letter from John Lennon, decides to straighten out his life, including reconnecting with his son (Cannnavale). The Wrap has more details.

Pacino's The Godfather II costar, Robert De Niro (Silver Linings Playbook), has just signed on to star in Legacy of Secrecy, a JFK assassination conspiracy film that is being produced by Leonardo DiCaprio's (The Great Gatsby, Django Unchained) production company, Appian Way. According to Thompson on Hollywood, "the film centers on FBI informant Jack Laningham and Mafia kingpin Carlos Marcello (De Niro), who confided to Laningham that he ordered the hit on Kennedy." Speculators say DiCaprio will play Laningham, marking the first time De Niro and DiCaprio teamed up on screen since This Boy's Life in 1993. The flick, which the report says has been a passion project of DiCaprio's father, will be directed by De Niro's Silver Linings Playbook director, David O. Russell.

TV Tidbits

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• Seth Meyers, who has been head writer on SNL for eight years and has been anchoring the "Weekend Update" desk for seven, will succeed Jimmy Fallon on Late Night when Fallon takes over The Tonight Show in 2014. Late Night is already produced by Lorne Michaels, the SNL creator and executive producer, and Michaels will come on board The Tonight Show, which is moving back to New York, as a producer. Rolling Stone has more.
  
  
• Meyers isn't the only departing SNL cast member. Sadly, Bill Hader, who has brought us many memorable roles, including city correspondent Stefon (co-created with comedian-writer John Mulaney) is leaving the show. This week's season finale will be his final episode. Hader has long been the MVP of the show, proving versatile and a true team player since his debut as a featured player in 2005. I'll be sad to see him go. Tune into the season finale, hosted by Ben Affleck, this week to see what wild shenanigans Hader gets himself into. Rolling Stone has details.
  
  
• The Newsroom will welcome another new cast member in season two. The Hollywood Reporter says that Lauren Tom will play "an expert working at the decision desk on election night" and will appear in two episodes.
  
  
• E! Online has a cheat sheet to which network TV shows have been renewed (like Community) and which have been canceled (like Smash).
  
  
• And Broadway.com has a round up of theatre favorites, like Allison Janney, Hamish Linklater and Spring Awakening alumni Skylar Astin and Jonathan Groff (in separate shows) who are in picked-up pilots.
  
  
• Rolling Stone names the 10 TV Shows to Watch this Summer, including The Newsroom (HBO); Arrested Development (Netflix streaming); Ray Donovan (new on Showtime and starring Liev Schreiber); and the final season of Breaking Bad (AMC).
  
  
• Check out this interview with Aaron Tveit (Catch Me if You Can, Les Miserables) as he talks about Mike Warren, the character he plays on the new USA Network TV show, Graceland. (And on Zap 2 It, Graceland and White Collar creator Jeff Eastin talks about the possibility of a Graceland-White Collar crossover.)

First Listen: Love's Labour's Lost

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The Public Theater released a fourth song from the upcoming Shakespeare in the Park production of Love's Labour's Lost. This brief but poppy song is "Hey Boys," and features Patti Murin (Lysistrata Jones), Audrey Weston and Kimiko Glenn. The musical adaptation of Shakespeare's comedy comes from team Bloody Bloody Andrew Jackson, Michael Friedman (score) and Alex Timbers (book and direction). It plays in Central Park's Delacorte theatre this summer, July 23-August 18. Listen here and check back next week for another song!

Theatre Award Season 

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Tony Awards
The Tony administration committee will meet on Thursday, May 23, to discuss a possible rule violation by nominated shows. Playbill has details, and I'll bring you an update next week!


Outer Critics Circle Awards
The winners for the OCC Awards were announced this week. The winners, all listed below, will be honored at a presentation ceremony on May 23.

• Outstanding New Broadway Play: Vanya and Sonia and Masha and Spike
• Outstanding New Broadway Musical: Kinky Boots
• Outstanding New Off-Broadway Play: My Name is Asher Lev
• Outstanding New Off-Broadway Musical: Here Lies Loves
• Outstanding Book of a Musical: Dennis Kelly, Matilda
• Outstanding New Score: Cyndi Lauper, Kinky Boots
• Outstanding Revival of a Play: Who's Afraid of Virginia Woolf?
• Outstanding Revival of a Musical: Pippin
• Outstanding Actor in a Play: Nathan Lane, The Nance
• Outstanding Actress in a Play: Cicely Tyson, The Trip to Bountiful
• Outstanding Actor in a Musical: Billy Porter, Kinky Boots
• Outstanding Actress in a Musical: Patina Miller, Pippin
• Outstanding Featured Actor in a Play: Tom Sturridge, Orphans
• Outstanding Featured Actress in a Play: Kristine Nielsen, Vanya and Sonia and Masha and Spike
• Outstanding Featured Actor in a Musical: Terrence Mann, Pippin
• Outstanding Featured Actress in a Musical: Andrea Martin, Pippin
• Outstanding Solo Performance: Holland Taylor, Ann
• Outstanding Director of a Play: Jack O'Brien, The Nance
• Outstanding Director of a Musical: Diane Paulus, Pippin
• Outstanding Choreographer: Chet Walker, Pippin
• Outstanding Set Design: Rob Howell, Matilda
• Outstanding Costume Design: William Ivey Long, Cinderella
• Outstanding Lighting Design: Kenneth Posner, Pippin
• John Gassner Award for an American Play: Aaron Posner, My Name is Asher Lev
• Special Achievement Award: Irish Repertory Theatre

Broadway.com Audience Choice Awards
You can now watch the full ceremony online, and it includes fun, candid moments with presenters, like presenting pairs Aaron Tveit and Stephanie J. Block and Bobby Cannavale and Laura Bananti, and winners, like Alan Cumming, Ms. Block and Billy Porter. Watch below or head over to Broadway.com.

Broadway Updates: Staying, Coming and Going

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• Staying: The wonderfully hilarious Vanya and Sonia and Masha and Spike is sticking around longer than originally planned. The terrific new Christopher Durang play will now run through July 28. Visit Playbill for details.
  
  
• Staying: The MTC production of The Assembled Parties, starring Jessica Hecht, Jeremy Shamos and Judith Light, has extended a second time. The show will now play through July 7. Playbill has details.
  
  
• Coming: Billy Crystal is coming back to Broadway for a return engagement of his Tony-winning show 700 Sundays. This engagement will begin previews on November 5 in advance of a November 13 opening. It will run at the Imperial Theatre through January 5. Broadway.com has details.
  
  
• Going and Coming: Roundabout Theatre announced that while it has to postpone its production of The Philadelphia Story (which was supposed to play this fall and be directed by the busy Alex Timbers), it is filling that slot with The Winslow Boy, by Terence Rattigan and starring Roger Rees (The West Wing, Peter and the Starcatcher) and Mary Elizabeth Mastrantonio. The theatre company also announced the world premiere production of Cutie and Bear, which will play its off-Broadway Laura Pels Theatre. That production will be directed by Evan Cabnet (The Performers, The Dream of the Burning Boy). Visit the Roundabout blog for more.
  
  
• Coming: We knew the A.R.T. production of Tennessee Williams's The Glass Menagerie is coming to Broadway, but this week we learned it will play the Booth Theatre. Previews for the limited engagement begin September 5 in advance of a September 26 opening. Playbill has details.
  
  
• Coming: A new musical, A Gentleman's Guide to Love and Murder, will bow on Broadway this fall. Written by Robert L. Freedman (book and lyrics) and Steven Lutvak (music), the show will play the Walter Kerr Theatre beginning October 22. Opening night is set for November 17. Broadwayworld.com has more.

Dig This

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• Check out this Playbill interview with Rebecca Naomi Jones, who can currently be seen downtown in Murder Ballad. (I saw the new production this week - it sizzles! Check back next week for a full review of this iteration.) And check out these amazing production stills.
  
  
• Casting was announced for the upcoming Second Stage premiere of the new musical Nobody Loves You, which features a book by Itamar Moses (Completeness). Among the cast are Rory O'Malley (The Book of Mormon) and Leslie Kritzer (The Memory Show). Playbill has details.
  
  
• There are big changes on the horizon for the selection of the Kennedy Center Honorees, including inviting the public to suggest nominees! Visit Playbill for details, and visit the Kennedy Center website to suggest a nominee (but check the full list of past recipients, first!).