Everyone was happy and excited for Bailey Hanks, winner of MTV’s Legally Blonde reality competition. She beat out the other legal blondes and landed her leading role, which she premiered last Wednesday. The other contestants went home, heads hung low, bitter and defeated, right?

Well, not so much.

Surprise! You’ve Got Contracts!

As it turned out, the producers had jobs in mind for all four of the top contestants in the show.

• Rhiannon Hansen will play Margot, Elle’s best friend, in the touring company of Legally Blonde
• Autumn Hurlbert will join the Broadway cast as Elle’s understudy
• Lauren Zakrin will not only join the touring company in the ensemble but also act as a second understudy for the Broadway show.

So all four top contestants won contracts, and all four seem to be pretty happy about it. “I couldn’t be at a better place; this is better for me now and this is where I’m supposed to be,” Rhiannon told the Deseret News.

I think this is a piece of brilliance on the part of the producers, and could change the way people get cast in these shows. They came out of this with (I’m presuming) a profit from the MTV show, four solid leads for their main star, and everybody’s happy.

Could this be the end of the Cattle Call?

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What does this have to do with the performing arts? Why, I’m glad you asked…

Everything’s Coming Up Musicals

I’ve written here before about the Creature From the Black Lagoon as a musical. But did you know there are others?

• Evil Dead the Musical
• Toxic Avenger the Musical
• The Fly
• Repo: the Genetic Opera
  

I didn’t know about some of these, until I read his column over on A&E. I was able to remind him of Point Break LIVE! which doesn’t really count, as it’s not a musical (but the fact that Keanu Reeves’ part is read by a random audience member off of cue cards is pretty interesting) . He also mentions the old standby, Rocky Horror Picture Show, but strangely enough missed the beginning of the genre, Little Shop of Horrors, and of course the newest Broadway fiasco noble effort, Young Frankenstein.

No, I’ve NOT Seen Dr. Horrible!

Of course, Joss Whedon is the talk of the town with his new Dr. Horrible  , and no, I’ve not seen it yet (about four of my friends suggested I write about it when I started this entry). I will subscribe to it tonight, watch it tomorrow on my new iPhone, and give it a proper Fame or Famine review. OK? So leave me alone already!

It makes one wonder, though…are we in a new age of musicals, clever and witty and pretty and gay…? 

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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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(yes, I realize this falls outside of the time zone idea for the blog-off. But it’s too good to pass up, so let’s call it a “stardate”).

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Haylie Duff, Not Hilary Duff

Yes, that’s right. Legally Blonde: The Search for Elle is not hosted by Hilary Duff, as I wrote, but by Haylie Duff, her sister and co-star for the movie Material Girls. Haylie has also appeared on Broadway in Hairspray, but her longest and most recognized role was on the long-running TV series 7th Heaven.

For Search she is more than just the front of the show; she also serves as executive producer. Her attitude about the show seems very straightforward: “I don’t do any of the eliminating or judging. I’m always auditioning for things so I see them as my peers. They’re wonderful, talented girls and they’re already professionals.”

“…one of the most realistic reality shows…”

Says Cari Kroop, of CommonSenseMedia.org, mentions that the show is better than most reality-based theatre shows because it “doesn’t waste any time airing footage of the untalented hopefuls who didn’t make the cut during open auditions…it’s a process that’s as ruthless and unemotional as a real-life Broadway casting…” And watching people’s hopes and dreams get crushed on the air is what reality TV is all about, right?

Longtime-absent and perennial-favorite TV blogger Beckylooo also commented on this particular phenomenon of the shows, but with the opposite point of view. “There’s an argument to be made,” she writes, “that offering a cross section of the folks who showed up is in fact more real that pretending the sh***y dancers never existed.”

While I would agree that showing the whole spectrum of hopeful dancers is perhaps realistic, that only really applies if they show them in the first round of auditions. My problem is with the policy of allowing the really awful people to get through the first round – something that is not realistic – and then parading them in front of the home viewers accompanied by the outrage of the judges who complain of wasted time when they invited the dancers back in the first place.

Then again, that’s holding the reality shows to a standard of reality that is…unrealistic. So I just sigh and say that’s entertainment, I guess.

Warning: Here Be Monsters

Under the category of “some things are just better off not existing,” apparently Warner Brother’s theme parks are coming up with their own answer to Disney’s long string of successful musicals with Creature from the Black Lagoon – the Musical! No, I’m not making this up, and neither is the L.A. Times

Why should we be scared? Well, the opening in 2009 promises, among other things, that audiences will be ““enveloped by the exotic sounds and scents of the jungle.”  (emphasis added).

Smell-o-vision comes back to the floorboards…

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So You Thought You Could Dance?

Like me, the TV Grapevine had a personal connection to someone who auditioned for the show. Like me, that person didn’t make it past the preliminary stages – but in their case, she was able to stay the extra day to see the “individual round.”

Yes, that’s right. That “individual round” is not the first time the judges see the dancers. Nigel Lythgoe, Mary Murphy, and whoever is with them saw all of them in a group cattle call audition the day before . They specifically invite back the dancers they want to see in the individual shows.

Think about that. All the dancers that you see that are so awful, that the judges berate for wasting their time – they were specifically invited back. Why? Not because, as they thought, they had a chance. No, it’s for entertainment value, for ratings, and that’s kind of a shabby way to treat people who want to dance.

Legally Blonde: the Search for Elle

Tonight at 10 MTV debuts a reality show (produced by the same people that brought you The Biggest Loser) to find the new lead for Legally Blonde: The Musical. This did not fill me with much anticipation, after the way they did Grease: You’re the One. However, Loser was pretty well thought out, and there seems to be a couple of other glimmers of hope.

The judges have some serious cred: musical auteur Heather Hach, casting director Bernard Telsey, Paul Canaan (veteran of the Broadway Musical and choreographer Jerry Mitchell. Of course, Grease also seemed to have good judges and…well, you saw how that went.

But there are apparently a lot of musical numbers with members of the actual Broadway cast, a “boot camp” to whip the contestants into shape, Haylie Duff provides some mentorship and guidance, and besides, it’s already been done – all eight episodes have been shot and the new Elle will be joining the cast on Broadway in October.

So let’s see if MTV can do it better than NBC. I’ll give it a grudging chance.

image courtesy of Newscom

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Ariell Jacobs as Gabriella Montez

Though the role was originated on TV by Vanessa Hudgens, the nerdy star of the broadway show has been aptly originated by Arielle Jacobs. Considering how much HSM has become a worldwide phenomenon, in some ways her job as part of the touring company is even harder, bringing the show to a wider audience than just those who are able to make it to Broadway.

Even better is the blog that she’s keeping of her time on tour. Ranging from the reaction of Canadian audiences to funny stories about her cast members, it’s a personal and very engaging look behind the scenes. You can even email her questions at GabriellaSpeaks@gmail.com

I’m looking forward to see how she answers some of the questions posed on the Mercury News blogs, and I would recommend her own as a regular read. Among other things, it will turn you on to music she likes, such as this one: Green to Gray, by Gavin Creel:

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In the category of “stage to screen” I could probably somewhat justify Al Gore’s famous slideshow, An Inconvenient Truth. After all, it went on to become not just a book but also a Nobel-Peace-Prize winning movie. Well, ok, Mr. Gore got the prize, but it wasn’t for his work as V.P.

Turning It Up to Eleven

Now, however, it’s going the other way, as Giorgio Battistelli of Milan’s La Scala opera house is going to undertake to turn it into an opera, set to debut in 2011. Yes, that’s right, an opera about global warming.

Battistelli is no stranger to difficult tasks. Given an opera containing a cast clad all in underwear, wearing masks of prominent politicians and swimming in Iraqi oil, he was asked to “take out the satirical parts”, according to the Independent. He didn’t – but ended up with an opera that got a seven-minute ovation. Not too shabby.

I confess, while it seems ludicrous to me at first, I can see why it might work, and I can’t see someone of his stature taking on a project without a pretty amazing inspiration as to where it can go.

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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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Milia also directed me to the event profile on Facebook, which I have happily added to my profile (though I don’t think I’ll be able to make it, sorry). Theatre de Mazitou, the production house exclusively licensed by Disney to produce High School Musical in Lebanon, also talks more about their purpose in producing the musical.  They held the objective “to reinforce and enhance novelty in Lebanon, shake up their talents and intellect and give them a chance to express themselves in their country. The lines of work we approach are utterly in respective of the growth of children’s intellect, internal and external development as well as their output.”

The troupe had to overcome a situation not commonly faced by theatrical groups – on May 8th, the country fell into “chaos” as a general strike was called – and by strike, we’re not talking about people holding placards and marching in a line. “You could hear gunfire crackling across Beirut all morning” reports Robert Fisk. In spite of this, they carried on with the premiere a week later, and I’m incredibly impressed and hope they have a fantastic run. Kudos to them for the bravery in the face of very difficult times, and holding to the theatrical tradition of “the show must go on.”

“If the same Lebanese theater group were to put on something by Sondheim, would it bother you less?” asks Milia. I understand the question – the idea that some plays are “classics” and that something of a higher perceived quality, it somehow stops being cultural assimilation and becomes common human experience.

I don’t know if my objection is so much to the author of the show or even the quality as much as the language. I believe that there are probably excellent Lebanese playwrights and stories that, if U.S. theatre goers were more open, would add to the cultural richness of Broadway (not to mention TV and movies). But international cinema remains the purview of upper-class liberal hippy types (yes, I’m generalizing and stereotyping here) and the international theatre scene remains the purview of the Ivory Tower of academia. I think, in the end, we all lose out in the one-way spread of cultures.

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