While the staging looks minimal, I suspect that the lighting and other designers will have made the entire theatre into a magical candyland before the night is out. I’d especially love to see how they shrink Mike Teevee on the stage. Click past the cut for a preview.

With luck I’ll get to it before it closes August 17th. If you check it out, please let me know! Here’s a preview piece from the Tribune:

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Image details: Cast Members From "Rent" Perform At Broadway For Life served by picapp.com

The question becomes, then, why does it have such appeal outside New York? If it’s too unrealistic to people who live there now, what is it that makes it appeal so much to people like my daughters (who in fact introduced me to the songs and story, and who have seen it on Broadway)?

I suppose part of it, at least, is that it’s not an original story – the theme was borrowed directly from La Boheme, and that’s not to impugn the immense talent of Jonathan Larson at all. As Robinson notes in his article, RENT captures the flavor and spirit of New York in a way that makes it, now that the wheel of time has moved on, almost a historical narrative, as accurate as any text by Herodotus. As a cultural memento of the way a microcosm of culture reacted to crisis…it is a monument as well as a work of art.

So I bid it farewell as it leaves Broadway, knowing that while I’ll never see it there, my children have, and so we, too, are a part of that cultural icon.

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That’s right. Jersey Boys, currently playing in Chicago, had portrayed the doo-wop singers accurately – that is, singing on the street corners with cigarettes hanging out of the their mouths. But since Chicago has a city-wide smoking ban, an “irate theatre goer” complained to…well, to someone, but no one seems to know who, or where the complaint originated. However, the play has removed the butts from the production (ifs & ands seem to be safe, for the moment).

Think of the Stagehands!

…or something like that. The city aldermen aren’t saying that an actor lighting up a butt on stage is going to actually give anyone cancer (kind of reminds me of when I was juggling torches and I’d reassure the audience that it was ok, I was using stage flame). But still, Health Committee Chairman Ed Smith says, “”We would be duplicitous if we say it’s alright to allow people to smoke on stage. … It’s an adversity to people who come to see those plays and the stagehands.”

As for those plays where lighting up really is written into the script, his advice is that they “modify the lines of the their plays to strike references to smoking and smoke-filled rooms.” Yeah, just change those lines. And by the way, it’s rather bad to show killing, and high heels kill your back, and do you realize what ballet does to your knees? It’s an adversity!

Unfortunately, it doesn’t seem to be improving. Alderman Bernard Stone, one of a couple who tried to get an exemption from the city-wide ban on smoking for theatres, said “”When you take it out of the production, you’re changing history. If you want to be true to the times, you’ll allow them to smoke on stage. To do otherwise is like blue laws in the Puritan times.” But apparently everyone else on the council was afraid to sign for smoking…and so, the Jersey Boys, and the rest of the plays, will have to leave their lighters at home.

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Writer’s groups are a dime a dozen these days and very few distinguish themselves.  Inkslingers, based out of Madison, WI, is one of the very few who do and manage to have their work produced.  I have been lucky enough to act for them on and off throughout the past three years at their staged readings.  However this year, I was asked to direct two of their short plays to be produced in a small theater in Madison.  The kicker with Inkslingers is that the playwrights are the producers of the show.  So the pressure was on.

Four directors had about four weeks to find actors and direct a show of twelve short plays.  The diversity of voices in the works had us scrambling for actresses over 50 and other types of actors you normally don’t have to worry about in mainstream theater.  However, the quality of the work written gave the directors in particular a myriad of was to go with their production.  The writer’s were faced with finally letting go of their work and allowing someone else to bring their voice to fruition.  Which I have to say they all handled very gracefully (more so than I would have).  The actors were given an opportunity to do original work, written and produced in their home town.

My actors met for once a week, due to schedules and not having a whole cast until a week before the show.  We did two plays one by Jan Levine Thal “Identity” and one by George Farah “Tech Support”.  Luckily, I had actors that could do both so I didn’t have to worry about separate casts.  I also had the fortune to work with actors ranging in age from late 30’s to mid 70’s.  One of the writers was at first skeptical of casting decision but once that writer came to rehearsal, all fears were allayed.  The other writer was did not come to rehearsal but was very open to suggestions about wording and other ideas on the play in general.  There were four performances and I am happy to say they were sold out each time.

Madison is fortunate to have a glut of artists that live in town and show their work here.  I am pleased that I have had the opportunity to work with one of the gems in this artistic community and bring quality writing and acting to life.

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Dana Pellebon is also known as “Ms. Behavin’” with Foxy Veronica’s Peach Pies Caburlesque Show

and also blogs about her son, Cobain, at www.loveformyson.blogspot.com

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All About Numbers

As the video on their site will tell you, in the past 9 years Artistic Fraud has called for:

• 81 school desks
•  32 flourescent semaphore flags
• 790 maps
• 36 vibraphone keys
• 2400 square feet of polyester wedding dress lining
• Over 300 performers.

You can see a short film about the relatively small production Fear of Flight on YouTube now, and hear the ensemble as they blend and create their vocal stagescapes (score by Jonathan Monroe). It’s fascinating how the score backs up the dramatic collaboration of the characters on the stage…

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Two Actors, One Script

The concept is as simple as it is radical: one actor ( in this case John Leary) is one character and the one who has actually seen the Obie-award-winning script. The other actor is the “guest” – drawn from Sydney’s dramatic community, people like Wayne Blair, Patrick Brammall, and Brendan Cowell. They have never seen the script, but the story still gets told – probably why the play did so well in London and NYC runs.

Read more about it here, and especially pay attention to this one part: because the play is different with every new guest, “An Oak Tree could just be the kind of show that attracts audiences who want to come more than once – that would be fantastic.” Now there’s a way to up the box office receipts…

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The Long Tail of the Cat in the Hat

However, being produced on Broadway is not the only way to make money from a musical. Licensing a musical to be performed by smaller troupes can also be a money maker (as Disney has found to its joy with High School Musical). And for some reason, many, many theatre groups all over the country have wanted to produce their own Suessical, making it one of the most-produced shows there is. My daughters have even been in a local production of it.

Horton Hears a Revival

Something about that popularity made producers think that it might deserve a second chance, and so in 2007 Theatreworks took a revised Seussical off-broadway and on tour. “Several subplots have been eliminated — [including] General Genghis Kahn Schmitz and the Butter Battle, the Whos’ Christmas pageant with the Grinch, the ‘Havin’ a Hunch’ sequence…” says Stephen Flaherty, one of the composers (and I have a hard time believing I just quoted that particular sentence seriously). The revisions paid off, and several critics and organizations nominated it for Best Revival of 2007

It looks like the revised Broadway cast is gearing up for a recording session, as well, as JAY Records prepares to give the Theatreworks/USA cast their own shot at immortality. Will this be called a “RBC” as opposed to “OBC” recording? Either way, it will surely be interesting to contrast and compare the two, and maybe some other musical blunders (Frankenstein?) can learn from their example.

image courtesy of Newscom

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Her son, Paul Sills, died of pneumonia today at age 80, having continued his mother’s work and shaped theatre as we know it today.

Paul Sills, the “Orson Welles of Improv”

Maybe you’ve heard of some of the places Paul Sills’ influence was felt. Second City? The Kids in the Hall? OK, how about Saturday Night Live? 30 Rock? Broadway’s Ragtime? Or how about one of his students, a fellow by the name of David Mamet who achieved a thing or two on Broadway and in Hollywood? Maybe you’ve been to a Comedy Sportz workshop or performance in your town?

Really, looking at the list of people and places influenced by and trained through Sills’ techniques is like looking at the entire shape of our cultural milieu. And yet, hardly anyone has heard of him. Jeffrey Sweet, theater historian, says “Paul was never given his due. Nobody did more for the American theater.”

So, in the interest of giving him his due…

Paul Sills & Story Theatre

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Melissa Gilbert: Typecasting or Resource?

I find myself questioning the casting of Melissa Gilbert in the role of “Ma Ingalls” – not because I doubt her abilities as an actress, but more because there is quite a difference between acting – even on a stage – and performing in a musical. She has more than enough cred with “straight plays”: A Shayna Maidel (for which she received an Outer Critic’s Circle Award for Best Debuting Actress) and roles in The Glass Menagerie, The Miracle Worker, Bus Stop, and Love Letters.

Singing and dancing may come naturally to her – I just hope that the producers and directors don’t water down the part. She’s playing opposite Steve Blanchard, veteran of eight years as the Beast in Disney’s Beauty and the Beast, and that kind of a mismatch would be almost heartbreaking to see in such a beloved American classic.

Image details: 2007 Winter TCA Press Tour – Day 1 served by picapp.com

Casting Yourself

Melissa Gilbert was an instrumental part of the casting process, and I wonder how it must have felt to see all the young hopeful Lauras – many, apparently, with dog-eared copies of “Little House on the Prairie” in their hands – and realize that you are casting an American icon that you, yourself, created.

The starring role went to Kara Lindsay, with Jenn Gambatese as older sister Mary. The ensemble includes Sara Jean Ford (touring as Christine in Phantom) as Nellie and Kevin Massey (another Disney/Broadway veteran from Tarzan) as the heartthrob Almanzo.

The opening is August 15th, and it’ll play at the Guthrie until early October. I’m hoping to get tickets and make the trek up there – if you do, drop me a line and let me know what you thought!

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Image details: Opening Of Andrew Lloyd Webber’s “The Woman in White” – After Party served by picapp.com

Trevor Nunn (director of Les Mis, among others) has set his sights on the American Civil War and a musical adaptation of Margaret Mitchell’s Gone with the Wind. With an ensemble cast including veterans of Chicago and Guys & Dolls and a slew of other Broadway hits, it really seems destined for a fantastic opening tonight at the New London Theatre. No word yet as to when it will travel across the waves, but my girlfriend is going to the UK for a wedding next month; I wonder if she might be able to sneak in and give us a review?

The music, of course, is the question, and the fact that Garth Valentine, the same musical director as Wicked is at the helm here gives us some hope that this will be another shining jewel in the theatrical sky.

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