At This Performance of American Idiot...

I just got home from seeing Billie Joe Armstrong make his Broadway debut: All this week he's playing the role of St. Jimmy in American Idiot. It was an incredible experience, to say the least.

To say a little bit more: The house was full (as was surely the plan) but moreover it was full of fans, not just people who were curious or happened in off the streets. This kind of house is always more fun because they are 100% into it; they're energetic and they feed their energy to the cast who recycles it right back to them, all for the price of admission.

And the cast was so pumped, if you'll excuse the understatement. All the Idiots were giving about 1700% tonight and I can only assume that that energy will carry over throughout Billie Joe's one week stand and beyond.

I loved watching Billie Joe play with the cast - giving a loving squeeze here and a quick kiss there. And he made sure to have fun all by himself, too, as he let out an extra yelp whenever the spirits moved him.

Perhaps the best part was watching the cast get to perform on stage - in the show they already do wonderfully eight times a week - with someone who began as their idol and is now their friend and artistic collaborator. I've seen Johnny in this role ten times now but there was a special glimmer in his eyes tonight as he danced and sang his way through "St. Jimmy" alongside his hero.

When the entire cast came out for the encore, "Good Riddance (Time of Your Life)", there was magic in the air. Thank you, Billie Joe and you beautiful Idiots. I had the time of my life.

City Ballet: Stravinsky Violin Concerto, Namouna: A Grand Divertissement and Estancia

Last week, I once again headed over to the State theatre for the second week of City Ballet’s 2010-2011 season. Upon arriving on this warm fall night, the Lincoln Center Plaza welcomed me with a beautiful fountain show. This is one of my favorite places in the city, especially on a nice, clear night. The halls are all lit up and the fountain shoots into the air, as if in celebration of your arrival. What a way to start!

On Thursday night’s program was “Stravinsky Violin Concerto”, “Namouna: A Grand Divertissement” and “Estancia”. Only “Namouna” was new to me but as you might guess, dear readers, I was most excited to get to see Christopher Wheeldon’s “Estancia” once again. More on that later. As usual, we’ll start with the first piece.

I first saw “Stravinsky Violin Concerto” last May, and enjoyed it quite a bit. This time, the ballet was performed by almost the same cast, with one exception: Instead of seeing my favorite, Robert Fairchild, dance opposite Sterling Hyltin, as in May, on Thursday soloist Ask La Cour was Hyltin’s partner. While he was good and Hyltin never fails to disappoint, I missed the chemistry Hyltin and Fairchild have and the way they both seem to have so much fun dancing together. You may remember that “Concerto” is the ballet in which the dancers quite literally wrap themselves around one another. While watching the piece for a second time, I wondered what it was about Stravinsky’s score that made Balanchine think, “They’re going to wrap themselves up in each other”. But I suppose you could wonder that – from where does inspiration come – when pondering any ballet, or any piece of art, for that matter. Whatever the inspiration, it’s a fun twist on some classic moves.

Next up was “Namouna”, which I was seeing for the first time. Despite great dancing by all, this was disappointing. This new work by Alexei Ratmansky set to Edouard Lalo’s score premiered last season in April. I found it a little too avant garde for my taste. It began with a gaggle of Millies, the thoroughly modern kind, complete with retro-bob wigs and flapper-looking dresses. But then the men came out and they looked – as impossible as it sounds – like futuristic Robocops dressed in retro, 20s garb. Very strange. I’d say that maybe I just needed to get over the costumes and focus on the dancing, but not even all the dancing made sense. This was a story ballet and thrown into the mix was an incomprehensible bit with cigarettes. I have no idea what any of it meant.

The saving grace of “Namouna” was getting to watch Tyler Angle dance. You’ll remember that last week I mentioned that Tyler’s brother, Jared, danced in Spring during “The Four Seasons” and that his feet never touched the ground. Well, I guess it ain’t nothing but a family thing because Tyler can jump! Still, at almost an hour, “Namouna” took much too long to tell a very simple boy-meets-girl story. Thank goodness “Estancia” was waiting in the wings.

Now, of course, I knew going in to “Estancia, take 2”, nothing would compare to the thrill of seeing it on its world premiere night. And true to expectations, this time around it wasn’t quite as exciting, but it’s a testament to Wheeldon’s wonderful choreography that it was still, easily, the best part of the night and something I’d go back to see again and again. Reprising the role he originated, Andrew Veyette was back as the Wild Horse. Unfortunately, Tiler and Tyler were not back in the roles they originated. Adrian Danchig-Waring did a fine job as the City Boy but Ana Sophia Scheller, as the Country Girl, lacked the energy and sense of urgency Tiler Peck brought to the role. This is not to say she wasn’t good; her technique cannot be questioned. This is just another case of a “replacement cast” not living up to my memory of the original. No matter who is dancing in “Estancia”, though, it is not to be missed. Wheeldon does an expert job of using choreography to tell his story, instead of having his dancers walk around and make gestures, as is usually the case with narrative ballets. And still, the pas de deux is among the loveliest I’ve seen.

As always, visit nycballet.com for more information and to order tickets. And, head over to nycballet.com/dancers to learn more about the 24 principal dancers and to see the beautiful portraits that make up the 2010-2011 marketing campaign.

Media Morsels 9.24.10

• American Idiot in the Media
  After a fun week of talk back sessions, most of the Idiots had a low-key week – just the usual eight shows! But the American Theatre Wing has a new video on its site in which they go behind the scenes with Idiot’s musical director, Carmel Dean. Learn what a musical director does and how Carmel got involved in this rockin’ show.
  
  
• Bloody Bloody Bits
  Populists rejoice! Big Block of Cheese Day finally arrived on Broadway: Bloody Bloody Andrew Jackson began previews at the Jacobs theatre this Monday night and I was on hand to experience the rapturous revelry. It seems that little has changed from the Public to Broadway, which is good since it was so spectacular downtown this spring. I am very glad to report that designer Donyale Werle’s fantastic theatre dressings transferred to the Jacobs. Like at the Public, the feel of a local dive bar envelops you the moment you walk in. And with lighting rods shooting out and up into the balcony, it gives the feel of a small intimate space, despite actually being a tall, cavernous theatre. Broadway, get ready for some tight, tight pants ‘cause Bloody Bloody ain’t leaving any time soon!
  
  Missed out getting a Jackson for a Jackson? Well, the Bloody Bloody folks announced this week that there will be a lottery for discounted tickets. 90 minutes prior to curtain, Populists can enter their name in the lottery; half an hour later, lottery winners (about 20 seats will be made available) will be drawn at random. Winners can then purchase $20 tickets, located in the first two orchestra rows. Tickets may be purchased with cash only and each winner can purchase up to two tickets. Good luck!
  
  The Wall Street Journal recently caught up with Bloody Bloody Star Benjamin Walker, who spoke about his early exposure to Jackson and parallels between Jackson’s political environment and our own.
  
  
• Catch Me on Broadway
  Catch Me if You Can, the musical stage adaptation of the eponymous movie, is confirmed to begin performances on Broadway this spring. The show will fly in to a still to be determined theatre on March 7, 2011, with an official opening night of April 10. No casting has been announced yet, but in last year’s Seattle production, favorites Norbert Leo Butz and Aaron Tveit starred. I’ll keep you posted on the details.
  
  (And speaking of Tveit, his new movie, Howl, opens this weekend. He costars with James Franco, Mary-Louise Parker, David Strathairn, Jon Hamm and Jeff Daniels, among others, in this biopic about Allen Ginsberg and the obscenity trial that ensued after “Howl” was published.)
  
  
• Things to Ruin
  You may remember that this winter I mentioned that Joe Iconis and his gang of incredibly talented misfits headed into the recording studio to lay down the wonderfully fun Things to Ruin, an Iconis songbook revue that played at The Zipper and later at Second Stage theatre (where I saw it). Well, the record has dropped, dear readers, and it’s not to be missed. If you’re looking for new musical theatre talent; if you’re looking for new musical talent; if you’re looking for good music you must pick this up. The record was released digitally on Tuesday and you can pre-order your hard copy, to be released October 20, from Sh-k-boom.com right now. (I’ve always likened the Iconis gang to The Muppets: They have a dream about singing and dancing and making people happy. And this record is most definitely a great example of that scrappy and raw passion.) This essential Iconis collection includes such gems as “Helen”, “Honey”, “Asleep on My Arm” and “Everybody’s at the Bar (Without Me)”, and boasts the talent of Iconis, Iconis regulars and standouts Katrina Rose Dideriksen, Lance Rubin and Jason “SweetTooth Williams”, as well as Nick Blaemire, Badia Farha, Sarah Glendening and Eric William Morris. Watch Playbill.com’s making-of video and then order your copy today!
  
  
• The Social Network
  Just one more week until Aaron Sorkin’s new movie, The Social Network, hits the big screen. (It will open the New York Film Festival tonight, though.) You’ll remember that The Social Network tells the conflicting stories of Facebook’s inception and the social rifts it begat. In this week’s New York magazine, Sorkin, director David Fincher and stars Jesse Eisenberg, Justin Timberlake and Andrew Garfield talk about the experience of creating this film. Fincher said he was particularly drawn to the material and was sympathetic toward Facebook’s creator Mark Zuckerberg, (played here by Eisenberg) because he knows “what it’s like to be 21 years old and trying to direct and sitting in a room full of grown ups who think you’re just so cute but aren’t about to give you control of anything. …I know the anger that comes from when you just want to be allowed to do the things that you know you can do”.
  
  The article also elicited this zinger from Sorkin: “While everyone deserves a voice, not everyone deserves a microphone”. (Yes, I’m aware of the irony of reporting that on a blog…) And also this scoop: Sorkin is working on an undisclosed TV pilot and the book of an undisclosed Broadway-aimed musical. Could it be that my dream of a theatrical collaboration between Sorkin, Tom Kitt, Matthew Warchus and Raul Esparza might actually come true?!?
  
  
• Glee Scoop
  So, what’d you think of the season two premiere? I think the season’s off to a great start; I especially loved the cold open, during which Jacob Ben Israel helped to catch us up on how the Gleeks spent their summer vacation. (Tina and Mike Chang met as Asian camp? Hilarious!) I also liked how it allowed, a la Lemon Lyman, Ryan Murphy to respond to bloggers and critics – nice touch. I’m not yet sure of how I feel about the new students, though I do like Cheyenne Jackson as Vocal Adrenaline’s new coach. I can’t wait for him to sing.
  
  Did anyone else think Rachel (Lea Michele) was an eerie combination of Eve Harrington and Alex Forrest (Glenn Close’s character in Fatal Attraction) in this episode? Regardless, I loved her rendition of “What I Did for Love”. It was a wonderful execution of a great Broadway standard. Can’t wait to see what else is in store this season! (Bonus from Broadway.com: Vote for your favorite new Gleek.)
  
  In other Glee news, E! Online is reporting that Gwyneth Paltrow may appear in two episodes this November. The report says that she would play a substitute teacher (filling in for Mr. Schuester) and that the kids, and possibly Will, will love her. I say “blech”. Sorry, but I just don’t like Gwyneth Paltrow. Well, I don’t like her in interviews; she’s palatable – sometimes – on screen. So this might not be a total failure, afterall. But suffice to say that I’d rather not have to watch her.
  
  
• Next to Kyle Dean
  As you may know by now, dear readers, from time to time Broadway.com is invited backstage to give readers a peek into Broadway stars’ dressing rooms. This week, the affable Kyle Dean Massey, currently thrilling as Gabe in Next to Normal, shows off his theatre domicile, complete with fan mail, photos and fixes for those vocal chords.
  
  
• Theater Talk
  The long-running series Theater Talk, which airs on CUNY TV in New York and can be accessed on their online You Tube channel (http://www.youtube.com/theatertalk) will welcome some notable guests in the coming weeks. This weekend we’ll see an episode featuring Time Stands Still (which is back for a return engagement on Broadway) author Donald Margulies and co-star Eric Bogosian. The first weekend in October we’ll be treated to chats with the creative duo behind Bloody Bloody Andrew Jackson, Alex Timbers and Michael friedman. Check your local listings for exact air dates and times.
  
  
• Are We Run by A**holes?
  This week on The Daily Show with Jon Stewart, our fearless leader asked, “Are we run by a**holes” after a defense spending bill with an amendment to repeal the abhorrent Don’t Ask Don’t Tell policy was filibustered and therefore not even brought to a vote. Check it out: (And don't forget to log on to rallytorestoresanity.com for more info about the 10.30.10 rally on the Mall.)

  The Daily Show With Jon Stewart	Mon - Thurs 11p / 10c
  Are We Run by A**holes?
  http://www.thedailyshow.com/
  Daily Show Full Episodes Political Humor Tea Party

• God of Carnage in Celluloid
  You may remember that many months ago it was announced that the hit Tony Award-winning play God of Carnage would be adapted for the screen, with Roman Polanski in the director’s chair. This week, we learned who the stellar cast will be: Kate Winslet, Jodie Foster, Christoph Waltz and Matt Dillon, (Oscar winners all, except for Dillon). I haven’t heard word yet as to how the coupling will go but here’s my hunch: Jodie Foster and Christoph Waltz will pair up, taking on the characters originated on Broadway by Marcia Gay Harden (who won the Tony for her performance) and James Gandolfini. Kate Winslet and Matt Dillon will pair up, taking on the characters originated on Broadway by Hope Davis and Jeff Daniels. I’ll keep you posted on any updates.
  
  
• Hippies Hit the Road
  There hasn’t been any official announcement regarding the touring cast of Hair, set to kick off the North American tour this October in DC, but I do have this scoop to report: My high school classmate Mike Evariste will be one of the Hippies! Mike has appeared on Broadway in Les Mis and South Pacific, and is just coming off the South Pacific tour. But the really fun part about this is that in high school, Mike starred in a local production of Hair as Hud. So, when the Hair bus and truck comes to a town near you, show a little love to the Hippies and say “hi” to Mike!
  
  
• SNL on Netflix
  Great news for Saturday Night Live fans: Every single episode – ever – of SNL will now be available for instant viewing on Netflix. Want to see what Alec Baldwin did the first time he hosted on the show? Fire up your Netflix account. Feel like reliving one of the great “living in a van down by the river” Chris Farley sketches? Fire up that Netflix account. It’ll all be there. And, episodes from the current season (which begins this Saturday, hosted by Amy Poehler) will be available for instant viewing just days after airing on NBC. Just another reason to sign up for Netflix!

City Ballet: Interplay, Opus 19/The Dreamer and The Four Seasons

Dust off your pointe shoes and get those leotards out of your drawers: The 2010-2011 New York City Ballet season has begun! And it’s off to a great start. City Ballet had a full week of “kick-off” events to welcome patrons to the new season, and particularly to their first-ever fall season. When I went on Thursday night, there was a lovely jazz duo playing in the promenade inside the State theatre and patrons could lounge on plush, oversize ottomans while enjoying the music. Or, like one couple, you could have shown off your own dancing skills and taken a twirl around the promenade. It was a very nice way to start the season, and a great way to transition from day- and work-time to nighttime fun!

First up on Thursday night, an all Robbins-night, was Interplay, which was fun, fun, fun! At first, I thought that if NY Export: Opus Jazz conveys the exuberance of teenagers, then Interplay conveys the wonderful playfulness of pre-teens. (In fact the costumes were similar: A mix of black pants and brightly colored tops for guys and brightly colored leotards and skirts for the gals.) The first two movements of Interplay, named "Free Play" and "Horseplay", were full of a child-like, youthful energy. They played lots of games with each other: Leap frog, follow the leader and mirror games, to name a few. These first two movements (and the final movement, "Team Play") were incredibly playful and fun. And the end of "Horseplay" was just one big smiling inducing thrill.

The third movement, however, made me rethink my pre-teen, pre-cursor to Opus Jazz theme. "Byplay" was a sultry, slinky pas de deux (between the wonderful Tiler Peck and Amar Ramasar). I hope pre-teens aren’t behaving this way! That said, it was a wonderfully sensual pas de deux, and with the Fosse-like poses of the on-lookers, I felt like I was watching a couple in a Chicago jazz club. Very smooth.

The piece as a whole was great fun, replete with energetic dancing, claps and stomps, chemistry and expert technique. I would love to see this as a complement to NY Export: Opus Jazz on one bill.

Next up was Opus 19/The Dreamer. This was pleasant, lovely and even interesting here and there but only mildly engaging. The score, by Sergei Prokofiev, was 100% classical, which isn’t always my cup of tea. (I prefer early gray with a splash of milk.) One of my favorite City Ballet dancers, Robert Fairchild, says this is his favorite ballet. Unfortunately, he wasn’t dancing on Thursday night; I’d be interested to see this again – perhaps when I’m better rested – with Fairchild dancing to try to uncover what he feels is so special about this ballet.

The third and final piece of the evening was the reason I attended: The Four Seasons. This has always been one of my favorite ballets (right up there with Opus Jazz and, now, Estancia) yet each time I anticipate going, I seem to forget why I like it so much. This is of no concern because after watching it, I am always once again reminded of why it is my favorite ballet.

The Four Seasons, set to Verdi’s operatic score, is just about everything I think a great ballet should be: Whimsical, beautiful, playful and skillful. It shows off Robbins’s immeasurable technique while also showcasing what I love about his choreography (as opposed to, say, Balanchine): You can see the music in Robbins’s choreography. As a music fanatic, I completely understand how music can move you; how it can tell your body how to move, and I love that in Robbins’s choreography you can tell that he understands this, too.

We begin with Winter. The corps de ballet dancing around in white look like little snowflakes flitting about. Breezes begin blowing them around and they huddle together to stay warm until a snowflake queen, if you will, enters and empowers the women to “dance their cares away”, warming themselves up with movement and banishing the breezes from their winter wonderland.

Then the lights change and Spring enters. (Spring is always my favorite piece of this piece.) If you’ll allow me to be punny for a second, I’d like to say that there seemed to literally be a spring in their step! Seriously, the Spring dancers were buoyant and full of renewed energy, just like we often are during that season. Principal dancers Jenifer Ringer and, one of my faves, Jared Angle, were superb. Ringer was like a little sprite playing in the field on the first day of spring. And, I swear, Jared Angle’s feet never touched the floor! He jumped and leaped about, as if enjoying the beautiful weather now that he’s out of hibernation.

Summer has a very Arabian Nights feel to it – slow and simmering – like a good, sweaty, languid summer day. And finally Fall comes ‘round (complete with Antonio Carmena as a Puck-ish muse), and it looks like the leaves are coming to life for one last hurrah before they fall to the ground. Fall ends with a flurry of jumps and turns – and about 2,700 pirouettes!

The Four Seasons has been and remains my favorite ballet because of its technique, energy, story-telling and vibrancy. What a wonderful way to welcome the new season!

As always, visit nycballet.com for more information about the ballets and to buy tickets.

Media Morsels 9.17.10

My dear readers,
I’m so sorry for the lack of Morsels last week. I was having technical difficulties. Please enjoy this week’s edition, with little bonuses left over from last week.

• American Idiot in the Media
  The cast of American Idiot has been working overtime! Last Monday (on Labor Day), the talented bunch flew out to LA to tape a performance for the competition series America’s Got Talent, which aired on Wednesday. The Idiots were incredible, obviously. Playbill.com has the video of this cast that most definitely has talent. This was promptly followed a terrific performance on Monday Night Football. The Idiots performed with Green Day at Giants Stadium during the Ravens-Jets game. While ESPN didn’t show the entire performance, because apparently whatever Chris Berman has to say is much more important than thrilling musical performances, the full performance did air later that night on Jimmy Kimmel. To close out this week, the ladies of American Idiots (the Idiettes, if you will) visited Jimmy Fallon for an electric rendition of Letterbomb! And, none other than John Gallagher, Jr. and Michael Mayer were interviewed NY1 staple On Stage last week. The pair talked about crafting American Idiot. Watch the whole thing, but pay particular attention to Mayer at the beginning: I think he adores Johnny almost as much as I do!
  
  While we had primaries in New York this week and the general election isn’t until November, the votes are in for Broadway Space’s Hottest Guy and Girl on Broadway and the voters (myself included) got it right. The 2010 winners are none other than John Gallagher, Jr. and Rebecca Naomi Jones! The two hotties make an incredible, compelling pair on stage and are excellent choices for this accolade. Congrats!



• Bloody Bloody Bits
  Big Block of Cheese Day is coming to Broadway very soon - the first preview of Bloody Bloody Andrew Jackson is this Monday, September 20! So, to prep for that, check out these photos of the cast meeting the press. And also be sure to watch this Broadway.com video of the meet-and-greet, and view their Bloody Bloody in-rehearsal photos. In addition, Playbill.com has several video clips you should check out: One is a highlights reel. The others are interview clips, one with writer and director Alex Timbers; one with composer Michael Friedman; one with cast member Lucas Near-Verbrugghe; and one with star Ben Walker, talking about how odd it is to be moving to Broadway. Populism, yea yea! (Bonus: A little piece of trivia, courtesy of the folks at BBAJ: Our current POTUS can thank Andrew Jackson for installing running water in the White House.)
  
  And finally, to help close out Broadway week, like the Idiettes, the cast of Bloody Bloody stopped by Jimmy Fallon this week. Watch the video and then book your tickets for this must see of the 2010-2011 theatre season!



• Glee Scoop
  Here’s a brand new promo video and behind the scenes photos from the New York Times to get your ready for season two of Glee. The hit show will return to Fox this Tuesday, September 21. And if that isn’t enough, check out this video from Entertainment Tonight of the Glee cast during their photo shoot for an upcoming all-Glee special edition People magazine. And if that isn’t enough, take a look at these red carpet photos of the Glee cast at the season two premiere party.
  
  Want more of the sweet stylings of dreamboat Matthew Morrison? Well, you’re in luck. The triple-threat was hard at work on his solo album during Glee’s summer hiatus and hopes to release the completed album in February. Morrison says he’s collaborated with lots of great singers and songwriters and that the record even includes some songs that “you can shake your moneymaker to in the club”.
  
  You’re never fully dressed without a smile, and while the lovely Lea Michele sometimes foregoes a smile for a smoldering smirk, she has made her way on to People’s annual Best Dressed list! This isn’t surprising, after some stunning red carpet moments. I’m particularly fond of the beautiful green number she wore to the SAG awards earlier this year and the stunning Oscar de la Renta gown she donned at this year’s Emmys. Way to go, Lea!



• Leap of Faith
  As you may know, dear readers, I am incredibly fond of the incredibly talented Raul Esparza. Esparza is currently out in LA for the premiere of Leap of Faith, a musical adaptation of the Steve Martin movie. In this latest video sneak peek, Esparza treats us to a tune from the show. Brooke Shields and Bryce Ryness play along side Esparza in this musical, directed by Rob Ashford, that is currently playing at the Ahmanson Theatre in LA through October 17.



• City Ballet
  Speaking of leaps, the New York City Ballet 2010-2011 season kicked off this week. (I was there on Thursday - review coming later this weekend.) To help welcome patrons back for the season, City Ballet had a whole slew of opening week festivities, including live music on the plaza and meet-and-greets with the dancers. Check out this article from the Wall Street Journal for the details.
  
  Apparently, Benjamin Millepied is bringing his sexy to Club Monaco. The New York City Ballet principal dancer will be starring in a new ad campaign for the clothing company and City Ballet recently shared this video of the photo shoot with fans. Looking good, Benjamin!



• Kennedy Center Honors
  It’s always award season, right? The class for the 33rd Annual Kennedy Center Honors is comprised of Merle Haggard, Jerry Herman, Bill T. Jones (the multiple Tony Award-winning choreographer of Spring Awakening and choreographer, director and writer of Fela!), Sir Paul McCartney (some guy from Liverpool) and Oprah. The dinner and gala will be held on December 5 and the gala part of that will be broadcast on CBS on December 28.



• New Group’s New Theatre
  My Cousin Vinny fans pay attention: The always extraordinary Marisa Tomei will head back to the boards this spring, appearing in an off-Broadway New Group production of Wallace Shawn’s Marie and Bruce. That production is scheduled to run March 3-April 23, 2011. Ms. Tomei isn’t the only notable name nabbed by the New Group: Their first production, running December 13, 2010-February 19, 2011, is Blood from a Stone, and will feature Ethan Hawke, the original Mimi, Daphne Rubin-Vega and Freaks and Geeks alum Becky Ann Baker. And to close out the season, famed playwright Moises Kaufman will bring his new play, One-Arm, to New York, in association with his own theatre group, the Tectonic Theatre Company. (Kaufman and his company are most famous for conceiving The Laramie Project and, more recently, the Jane Fonda vehicle, 33 Variations.) You can visit thenewgroup.org for more information.



• Billy Back on Broadway?
  Speaking of celebs treading the boards, EW.com is reporting that Billy Crudup (who was wonderfully sexy as Russell Hammond in Almost Famous and gave an expert performance in The Metal Children this past spring) will return to Broadway this February in a revival of Tom Stoppard’s Arcadia. Crudup originated the role of Septimus when the play opened on Broadway in 1995; this time, he’ll be playing the role originated by Victor Garber, Bernard Nightingale. In the same report, EW also says that Crudup will soon begin shooting the HBO movie Too Big to Fail, based on the book by Andrew Ross Sorkin. (This should come as no surprise, but I’d be more stoked if he worked on something with Aaron Sorkin.) Crudup will play Treasury Secretary Tim Geithner. I’ll keep you posted on any Arcadia updates, like where and exactly when it’ll be playing.



• Premiere Week
  The fall season is heading into full swing. One of the most anticipated new shows, Boardwalk Empire, premieres this Sunday night on HBO. The series, about Atlantic City during prohibition, stars Steve Buscemi, Michael Pitt and Michael Shannon, and the pilot episode (the one airing on Sunday) was directed by Martin Scorsese. (E! Online is pretty excited for the show to air.) Also premiering this upcoming week: Glee (Tuesday), Modern Family (Wednesday) and Community, The Office and 30 Rock (Thursday). Next Sunday, the 26th, Bored to Death will return for a second season (such a stylized, non-pretentiously hip show shot in New York, which means it features lots of theatre rats in bit parts), and next Tuesday, the 28th, The Good Wife, with Julianna Margulies, Josh Charles and, in a recurring role – not just a guest role – Alan Cumming! Willkommen back, Alan!



• More Foo for You
  A few weeks ago, I mentioned that Foo Fighters had headed back into the studio to record their seventh studio album. Well, the boys are hard at work, laying down vocals, layering instruments and mixing away. They are joined in the studio by old friends and long-time colleagues, including Krist Novoselic. Stay tuned for more details as they’re announced. In the meantime, visit foofighters.com for all things Foo.



• Put Your Money Where Your Mouth Is
  Do you love Broadway? Great! Do you want to produce a Broadway show? Well, now you may have a chance. After some false starts at finding funding the typical way for a Broadway revival of Godspell, producer Ken Davenport has announced that he is looking to make this revival crowd-funded. Now, instead of having to fork over $10,000 or as much as $100,000 for one producing unit, each unit will cost only $100 (though investors must purchase at least 10 units, costing $1,000). All producers’ names will appear on the website and posters adorning the theatre. I think this is an interesting idea, and one that I’ve seen work and have participated in in other media.
  
  One of my favorite bands, The Spring Standards, was looking to record a full-length album. They knew they couldn’t do it alone so they turned to their incredibly fervent fan base and asked for donations. They created different levels of giving, so people on any budget could afford to give, with various incentives for each level. I love this trio and fully support their creativity so I was excited to have the chance to contribute to their record; as a result, my name now appears in the liner notes! But mostly I feel proud that I was able to help an unbelievably talented band put out the record they wanted to – and that I get to listen to it all the time! (By the way, The Spring Standards will be playing New York’s Rockwood Music Hall Stage 2 next Saturday – come join me and see for yourself what a rocking band they are!)
  
  What do you think? Is there a band or show that you’re so totally in love with that you’d help finance their or its artistic efforts?



• Openings and Closings
  This week we learned that the current Arthur Laurents-directed revival of West Side Story will close on January 2, 2011 after having played 27 previews and 748 regular performances. But, lest you worry that the Palace theatre (Story’s home) will feel all lonely and empty inside, I’m happy to report that Priscilla Queen of the Desert The Musical will take up residence in the theatre beginning February 28, 2011. This stage adaptation of the same-named film has been a hit across the pond and here in New York it will star Will Swenson! (Swenson was most recently in Hair here at the Hirschfeld and also in London.) Priscilla will enjoy its official opening night on March 20.
  
  Also closing on January 2 is Promises, Promises. Current stars Kristen Chenoweth and Sean Hayes will stay with the show through the closing, rather than leaving in December, as originally planned.



• Sacha Baron Cohen Will Rock You
  Chameleon comedian Sacha Baron Cohen is set to star as Freddie Mercury in an upcoming Queen biopic. (Can a film about a band be called a biopic?) According to the report from Empire Online, the film will “follow Queen’s formative years and chart the band’s rise to success, capped by their appearance at 1985’s Live Aid concert.” What do you think? Will Cohen be the champion, my friend?

Heathers: The Musical

Greetings and salutations! Heathers is back, so dust off your croquet mallet and find your big red scrunchy.

On Tuesday night I was delighted to attend a staged concert of Heathers: The Musical at one of my favorite venues, Joe’s Pub. Before I even get to the show, I have to name drop for a moment. While waiting in line to go in, I gathered from the others gathered that the crowd was full of family and industry types, not just theatre rats like me. And, lo and behold, I turned around and Billy Porter was standing right there! (Porter is a theatre vet and absolutely hilarious in The Broken Hearts Club.) No sooner was I seated on my comfy couch in the Pub than I spotted Victor Garber sitting at the table next to me. And as if that wasn’t neat enough, before the show began Mr. Garber was joined by some friends, including Ms. Meg Ryan. So that was the pre-show!

And now on to the actual show. This concert version was just a concert: While the director read some stage directions and the actors spoke some of the dialogue, the evening was really all about the songs. That being said, I couldn’t get a consummate feel for how well Heathers: The Musical would work in a fully realized and produced production on a regular proscenium stage. But, I did get a feel for the talent and the strength of the songs, seven of which had their premiere last night. (The production has been gestating for a few years and has enjoyed a run at La Jolla Playhouse.)

The show was a little raunchy and very tongue-in-cheek funny, hitting the right notes that its film predecessor did. And while the ending was bordering on the saccharine, a healthy dose of snark kept it from giving me a tooth ache. (…because of the sweetness. Clueless? Anyone?) Plus, there were some standout numbers. I’ve already decided that “Will You Fight for Me?” (or whatever it’s actually called) can be added to my “Fine, Fine Line” list of songs.

I’ll digress to explain: “There’s a Fine, Fine Line” is a very sweet and touching song from Avenue Q. Its sincerity and effectiveness always seemed to, for me, transcend the wink-wink, nudge-nudge funny of the puppet-tastic Tony winning show. It’s always been on of those “I’m a moody gal and I need to sing out my feelings” songs; more recently, “The Great Compromise” from Bloody Bloody Andrew Jackson has been added to the list. While the rest of the show is full of mugging and snarky asides, this number is powerful and emotional, pausing the show for a moment and showing its writers’ knack for serious sentimental songwriting. So that’s the kind of song that “Will You Fight for Me?” is and I’m eagerly looking forward to a cast recording – or at least a demo – so I can play it over and over again.

The cast assembled for this concert was full of talent. James Snyder (last seen on Broadway in the title role in the too-short lived Cry-Baby) and PJ Griffith were just right for the macho jockos; Jenna Leigh Green, Christine Lakin (“Al” from Step by Step!) and Corri English were devilishly good as the self-possessed and self-centered Heathers; Julie Garnye stood out with her fantastic, powerhouse of a voice as Martha “Dumptruck” Dunnstock; Jeremy Jordan has a great rock voice and was very sexy as the very sexy (as per the stage directions!) JD, the role originated on film by Christian Slater; and Annaleigh Ashford, most recently seen on the boards as Jeannie in Hair, was a great combination of artsy nonchalance, Heather-y cuteness and feisty leading lady charm to bring Veronica (Winona Ryder’s role) fully to life. I’d like to see her continue on with the show should it be lucky enough to receive future productions.

No word yet on whether or not such a future production is actually likely, but my best guess says that it is. I think it’d work best as a subversive, off-Broadway mainstay, a la Reefer Madness. So, until further notice, I’ll ask you to “lick it up, baby. Lick it up!”

(Check out these Broadwayworld.com photos of Heathers: The Musical in rehearsals.)

Correction: One of the producers of the show left a message with this correction: "We've done a few staged readings in LA and La Jolla has offered us a slot courtesy of Artistic Director Chris Ashley. We have not done the fully staged show anywhere yet, however. That's the next step." I apologize for the misinformation, thank the producer for the correction and wish everyone at Heathers: The Musical the best of luck in that next step!

Me, Myself and I

Me, Myself and I is an Edward Albee play; that’s both a fact and a fairly consummate descriptor. At moments it’s absurd, then heartfelt then wildly funny and then over-the-top cartoonish. This made for a mostly pleasant theatre going experience, if not a thoroughly enjoyable one.

In his latest work, Albee introduces us to OTTO, one half of an identical twin duo. His brother is otto. (No, those aren’t typos.) His mother is Albee-crazy, which means she’s demented but has lucid moments and discoveries that make us question our acumen. OTTO and otto are 28 and Mother can’t tell them apart. The Doctor has been living with them (staying fully clothed – in a navy pinstripe suit – in bed) all these 28 years, ever since OTTO and otto’s father left the family. At rise, OTTO tells us he’s decided to get rid of his family and then proceeds to tell his mother and the doctor that his twin brother no longer exists – sending everyone, including otto’s girlfriend who firmly believe otto exists, into an existential crisis.

If it sounds confusing, don’t worry; it’s actually not. For as twisted as that plot sounds, it plays as rather straight forward. Even with clarity in tact it’s still a little tedious to sit through. There are definitely some juicy and funny bits to be enjoyed but as everyone started going on and on about their existence – or lack thereof – I found myself drifting off and fantasizing about my own. Maybe that was the point: That we should ponder our existence and make sure we’re living our own lives, but I’m always of the mind that if a play doesn’t capture me and hold my undivided attention, it’s somehow lacking.

It wasn’t for lack of trying. Most of the cast was good. Zachary Booth was charismatic as the conniving OTTO and Elizabeth Ashley was just right as the eccentric, wacky-but-just-might-be-on-to-something Mother. As Dr. (as he’s billed in the Playbill), Brian Murray was commanding and stood as the voice of reason. Preston Sadleir, making his off-Broadway debut here, seems to have been cast more for being able to mirror Booth than for his acting abilities. He was fine but there were times when it looked like he was ready to break. I don’t mean he looked fragile, I mean that he looked like he was ready to bust out laughing at any moment – even at moments of high drama. This was disappointing because seeing him come out of the moment brought me out of the moment, and as I mentioned above I was having trouble remaining present as it was.

For all its tedium the play passed by at a relatively quick clip – it was just about two hours, including a 15 minute intermission. Many plays are taking to omitting the intermission and going 90 minutes(ish) straight but here, I’m glad we had a break. I think if I had had to sit through an hour and forty-five minutes without a moment to leave Albee’s world, I would have been scratching and clawing to get back to mine. Instead, I remained still in my seat, trying to appreciate the absurdist humor that is the quintessence of one our most lauded living playwrights. (At 82, he’s still around and kicking!)

Me, Myself and I is currently playing at Playwrights Horizons.

Media Morsels 9.3.10

• American Idiot in the Media
  The incomparable Idiots went into the AOL Sessions studio recently to try to capture on film some of the magic of the show. It’s a beautiful thing, and for now it’s the closest you can get to having the Idiots perform in your living room. (A gal can dream, right?) Check out the entire American Idiot Sessions section for six (6!) musical performances, including those amazing, fierce and inspiring women singing "Letterbomb"; pictures of the cast; a “behind the sessions” video; and a video Q&A with Michael, Rebecca, Tony, Libby, John, Christina and Stark.
  
  The talented (and handsome) Michael Esper recently invited Broadway.com into his dressing room to capture some of his favorite decorative items, including an “I want to cuddle with you” card from some very special supporters.
  
  
• Sesame Street Gets Some Visitors
  Sesame Street turns 41 this year. The seminal show from the Children’s Television Workshop will return to PBS for its 41st season on September 27. And guess who’ll be stopping by throughout the season: Taye Diggs and Idinia Menzel, recent Emmy winner Kyra Sedgwick, Amy Poehler, Jason Bateman, LaDainian Tomlinson and foodie Alton Brown, among others. As you wait for the start of the 41st season, check out this video of Elmo interviewing recent Emmy winner Neil Patrick Harris.
  
  
• Dancing in the Streets (of Washington DC)
  I knew I liked FLOTUS: Seems Michelle Obama will be inviting several dance companies to perform at the White House for The White House Dance Series: A Tribute to Judith Jamison. Invited dancers include members of Alvin Ailey, The Washington Ballet and New York City Ballet. The event will take place this Tuesday, September 7 at 5pm. The event will be streamed live on whitehouse.gov. Tune in!
  
  
• Sore Losers
  After HBO swept the movie/miniseries category at the Emmys this weekend, several networks are whining about the category’s inclusion in the Emmy broadcast. They say that that portion of the show slows down and that viewership drops; that perhaps HBO and the movie/miniseries category should get its own broadcast. I disagree. I think these are the grumblings of sour grapes. As my brother pointed out, if we’re to follow this logic, should AMC get its own broadcast or should people be hating on AMC since, between Mad Men and Breaking Bad, it pretty much swept the drama category? And moreover, viewership dropped at that point because it was late in the broadcast. If that’s the concern, then switch the order. But HBO deserves its time in the sun just as much as any other channel. The networks should just make better programming; then they’d win some awards.
  
  
• Farragut North on Film
  In fall 2008, the Atlantic Theatre Company gave Beau Willimon’s Farragut North its New York City premiere. It’s a great behind-the-scenes political drama, sort of like a less idealistic, but still incredibly realistic, The West Wing. Oh, that and it starred one John Gallagher, Jr., who gave a thoroughly compelling performance. Since before it came to New York, I’d been hearing buzz about it being turned in to a film, with Leonardo DiCaprio, Jake Gyllenhaal and George Clooney all attached at one point or another. Now, according to New York Magazine, the film is set to start shooting this upcoming February, with Clooney behind the camera. Taking on the role originated by Chris Noth will likely be Philip Seymour Hoffman. Filling in for Isaiah Thomas will be Paul Giamatti. Marisa Tomei is also in talks to appear. An offer has been made to Evan Rachel Wood, a terrible replacement for the very good Olivia Thirlby. But, to my mind, the most egregious replacement is in the pivotal lead role of Stephen, brilliantly brought to life on stage in NY by Johnny: He’s going to be played onscreen by Chris Pine, who played the role in the play’s LA premiere. True, I haven’t seen him in the role so I have no idea what he’ll do with it, but John was soooo good! I suppose I should reserve my judgment until there’s something to judge; plus, I’ve really enjoyed Clooney’s last two directing ventures so I guess, like George Michael says, I gotta have faith.
  
  
• Glee Scoop
  Well, not so much scoop as this: Ms. Lea Michele is on the cover of Glamour magazine! The lovely and talented Michele graces the cover of the October issue, which arrived in my mailbox this week. Michele looks beautiful and effervescent and like she’s having the time of her life. How glamorous! Pick up your copy today and visit glamour.com for more.
  
  And, just so I don’t leave you without any Glee scoop, here’s a video sneak peek at the new season!
  
  
• Bloody Bloody News
  Bloody Bloody is coming to Broadway in less than three weeks! The Original Cast Recording was supposed to be released on September 21, but, thank Thespis, my copy arrived today!!! It’s awesome – I’m so super psyched to see it again on September 20 for its first preview. Visit sh-k-boom.com to order your own copy today so you can, like me, dance around your house singing, “Populism, yea, yea!”