We’ve made it to the end of 2020! I hope everyone reading is having a safe and happy holiday season.
Aside from living through the chaos of a pandemic, this year for me was largely definied by the extreme privilege of playing Blanche Barrow in Bonnie and Clyde, so I decided I’d take you through a bonus segement of “Becoming Blanche”. Yes, I finished playing Blanche back in June, but the fascination with all things Bonnie and Clyde/The Barrow Gang lives on.
As it so happens, my parents moved down South to Arkansas, so for Thanksgiving I decided it was time to spend some time with them in their new home. (There were only three of us, so still within CDC guidelines). Since I was down south anyway, I figured I may as well travel down to Louisiana for more Bonnie and Clyde related sight seeing.
I hope you’re all staying safe, wherever you are. For me I’m physically safe, but living through such a tumultuous time is taking it’s toll, but I’m managing.
Though in the grand scheme of everything in the world, I can acknowledge that Broadway being dark and the fact that very little live theatre is happening (and rightly so, for the sake of public safety) is, as the kids might say, a big sad.
Courtesy of giphy.com
I wish I had some sweeping words of wisdom, but the best I can offer are some little digital joys I’ve found to keep me going, that I can hope add a little sparkle to the rest of my theatre-loving folk.
I hope you all are staying safe. For me, I’ve been very blessed all things considered. For those of you are wondering, my production of Bonnie and Clyde has been pushed back. Because we don’t have traditional stadium style seating, we were able to find a way to still put on the show and do so safely. (More information below)
Anyway, a big shout out to my roomie and best friend Hallie (who is a saint for having not killed me through all this). Sometimes we get into discussions about various actors, famous people, etc. from Missouri, so I thought “Why not do something like this for Broadway?
So for those of you who know me/follow my blog, you know what somehow, I managed to end up in not one but two main stage productions with my university this semester.
In October, I played Dixie Potter, owner of the Cheap and Empty Sandwich Cafe, in the world premiere of The Flaxen Miss Jackson.
That happened via auditioning, you know, like you do. But then when I got back from fall break, I got an email from the director of Cabaret, asking me and a few other girls to sing in the pit to supplement the onstage actors. Far be it from me to look gift horse in the mouth, I jumped at the chance.
Both events were monumental for me, but for very different reasons. I wanted to talk about that a bit here, if I may. (Ha of course I may it’s my blog I do what I want).
The whole audition initial process for Jackson was just as stressful and nerve-wracking as any other audition. I truly do hate auditions, but this one was not my worst one by far. For one, I got my audition panel to laugh throughout my monologue. It lead to a callback, but I didn’t want to get too optimistic at first. A callback is a great sign, but there’s still no guarantee. You still have to hurdle through that to get the part. But it’s a nice stepping stone, and a very fulfilling one. That one actually was quite fun, I have found myself actually almost having fun at callbacks, and this was the case here. I was the first one to read, and ironically enough the guy I read with also got the part. I’m not one of those people who says going first or last is bad or good, as far as I’m concerned it really makes no difference. Well, okay, maybe it does, but I have to convince myself that it doesn’t or I will microanalyze whether or not it was a good or bad thing later, and frankly that doesn’t help anybody.
But I left the audition room early since I read first, and spent the next few hours in theatre kid hell. Very few things are worse than the wait, and I formerly apologize to every human being I have ever encountered while waiting to hear back from an audition, because that it literally me at some of my worst.
But the list came up, and for the first time in a while, my name was on the final list. It was right there in black and white, just as it had for the callback list. It was right in front of me, real, tangible proof, that the months of working on my pieces and making myself crazy were indeed worth it. I have to admit though, my initial reaction was utter and complete disbelief. Even with the list in front of me, singed by the director, my brain just couldn’t process it. I literally slid down the wall with my hand covering my mouth and tears streaming down my face.
But soon enough we had the first read through with my fabulous director, the queenly Madison Spencer, and superb cast. It was such a great time for me, rehearsal days were the best days. The atmosphere was one of friendly professionalism. I never felt more confident with myself as a performer. I truly felt that I had earned that position and doing my job well. The rest of my compadres brought their A-game as well, and it was a true delight watching them come alive as their respective characters.
For those of you who didn’t get to see the play, The Flaxen Miss Jackson told the humorous story of a man, accompanied by his best friend in search of a woman he met a ear ago whom he believes somehow blessed him and made his year miraculous. He comes to my character’s sandwich shop, The Cheap and Empty Sandwich Cafe, to find her, but not before having to deal with Dixie’s sass and spitefulness which was an absolute joy to do. I loved hearing the peals of laughter from people each night-and often during rehearsals from the director! I got some good marks for that from several people. In the spirit of honesty, I really don’t think it was me necessarily that was funny. I think it was the goofy, over the top circumstances and ridiculousness that was funny, I just happened to be the person portraying it. But hey, if people are going to compliment me on being funny, who am I to reject it?
And the joy didn’t end there. After watching my friends go through the full process of being in a Drury show from the difference, I had been dying to jump in and do everything they got to do. Costume fittings, photo call, signing posters, having my name on a dressing room divider, every little bitty thing that came with the process I was finally getting to do. I was part of the club and loving every second.
Show week came and I was at the top of the world. I was ecstatic for a whole new audience of people see me perform-many of whom never had! (And at that point in time it had been four months since I had been onstage, and two years since having a lead role. It was nice to know that the hiatus hadn’t made me lose my touch!) Every time I slipped into that costume and transformed into the saucy Dixie Potter. (Gotta rave about my costume for a second because it was literally the most comfy costume I’ve ever had in a play and I was in love with it. Thanks Justin and Rebecca!)
I truly did not want that show to end. I was finally getting to do what I set out to do, and it frightened me a little that I had no idea whatsoever when I was going to get to experience all that again. I thought maybe, if I worked my butt off some more, I could maybe land something next semester.
I certainly wasn’t expecting my new role to come two weeks later.
The show closed, the set was struck, but my life most certainly did not quiet down. I didn’t get a real chance to experience post show depression. The weekend after that I was at a wedding and then back in my hometown, and the week after that I was I was in Kansas City for fall break, spending time with my sister and seeing Wicked. (More on that later).
So I came back from KC and went straight to my job at the CX. And who should come in but the fabulous Sally Farrand, Cabaret stage manager extraordinaire, comes in and asks if I had received the email from Westy. I proceeded to ask “What email?” to which she told me that he emailed me and a few other girls in the department about being a pit singer for Cabaret to back up the female ensemble. To say I was excited would be a gross understatement. Needless to say, the first thing I did after getting off work was email Westy a very enthusiastic “Yes!”
(For a complete narrative on my reaction/first thoughts to landing the gig, read here).
And everything I was thinking/feeling when I made that post only increased with time. I couldn’t wait to sign those iconic songs every day, and I couldn’t wait to watch the rest of the cast make their bold choices every day…(Everyone in the show will get that joke…if you weren’t ask me…)
Most of my time in One Acts was spent with upper class men that I just got to know better. Cabaret did that too, but I also spent considerable time with this year’s freshman class that I’ve grown to know and love. All of them transformed into these characters before my eyes and gave me chills every time.
The story of Cabaret was especially relevant at that point in time. One of our performances coincided with that terrible Friday the thirteenth where from Paris to Syria to Japan to Beirut. Several of us were live streaming the updates from the Paris attacks backstage, horrified. In some ways, it disheartened me that in the time Cabaret happened to now that people of the world are still doing horrific things to each other. But on the other hand, it made me grateful to be surrounded that my theatre family was all here together and safe. Not just that, but telling the story of tragedy and distress and the human condition, allowing our audience and ourselves to bring the sufferings of the past and present to life so that it won’t be forgotten. Perhaps in a few decades from now they’ll be a play about these world events.
It also seemed as if that particular weekend was a popular one for shows. Back home in Jefferson City and all over Missouri and beyond my theatre friends from past and present were doing their own shows. Even if the outside world is a mess, at least there were still swarms of the people I love doing what they love and bringing joy to their respective audiences. The shows opened, they ran, and eventually came to a close.
I didn’t want that to end either. But it did, as does every love affair with my fickle show mistresses. But at least it happened, and I could spend forever talking about the stories from these two shows. From the doorknob getting stuck on closing night of Cabaret to seeing Kim Crosby smile at my One Acts performance, they were certainly ones for the history books.
Thanks for reading, folks. One month from now I’ll be in NYC (AH!)
……and there will be extensive posts about all the shows I’ll see! Until then peace out girl scouts, and stay classy.
Perfectly Marvelous-Deb Reflects On Her First Cabaret Rehearsal
So first off, some business.
I know I haven’t posted in a while, not that anybody especially noticed. I’m thinking I’ll do a monthly post while school is going on.
Second, very exciting news, I managed to somehow land not one but TWO mainstage roles this semester.
The first was a Night of Original One Acts, in which I originated the role of Dixie Potter in “The Flaxen Miss Jackson”.
And this week, I was asked to be a pit singer for the forthcoming production of Cabaret. I attended my first rehearsal tonight, and I’m already ridiculously pumped. The following is my collection of thoughts following. Probably will be very emotional and sappy, just a forewarning.
It’s honestly very hard for me to talk about becoming a theatre kid, because I literally don’t remember a time when I wasn’t one. (Mom says it was The Wizard of Oz and Judy Garland that started it all.) But loving theatre, musicals especially, was always second nature to me.
Unfortunately, it’s very hard to be a theatre kid in a small town with limited performing opportunities. Thankfully, I had enthusiastic, supportive parents who drove me all over the stage to auditions, classes, rehearsals, shows, and everything else. (But don’t think for a minute they were Mama Rose. My happiness and well-being was their top priority. It just happened that participating and attending theatre was a huge part of that)
But it didn’t stop there. We were never rolling in money, but I can’t tell you how many times they’d come home with a new treasure for me from the thrift store. Usually this was a cast album on cassette, or an MGM musical on VHS, or a Wizard of Oz toy. While the other kids in my grade played with hot wheels or played house, I was putting on full length musicals for my stuffed animals and Barbies in which I played every part. (Though sometimes my toys got in on the fun-let me tell you my Teddy Bear did a MEAN Tevye). And while the kids in my class jammed to Britney Spears or Nsync, I was blasting cast albums.
Oh, those cast albums. We didn’t have internet or cable and we were in the Midwest, so these cast albums were my window to the theatre world and I was in love. I would play them over and over on my second hand stereo, some on cassette, some on CD. I memorized lines to them, I did homework to them, they were the soundtrack of my life. I would learn about other shows from the classes I took in Saint Louis, and I would ask for the recording of it for Christmas, or save for them with my allowance. (I still vividly remember spending my birthday money one year on the Original Broadway Cast Recording of The Light in the Piazza, which I still have and love).
As I would listen to them and imagine what the sets and costumes would look like, what the actors would do as they sang, and most of all I imagined that I was onstage singing them myself.
Before moving to Jefferson City, I had only done two actual Broadway musicals. The smaller community theatres I had worked with didn’t have the budget for them, so they mostly did showcases and small, cheap scripts specifically written for community theatre. Please don’t misunderstand, I’m forever grateful to those companies and the work I did with them. It was my spring board, and an awesome outlet for a kid like me anxious to dive into the magical world of theatre. But in my bedroom, I wanted more than anything to do these shows and sing the songs I loved so much.
One of these shows was Cabaret. Of course, young, naïve, innocent me didn’t quite grasp the, well, adult themes. I just liked to sing the songs, especially the Kit Kat girl songs. “Don’t Tell Mama” and “Money” were favorites, which coincidently are some of the songs I get to sing! Singing them tonight with intent to perform for an audience besides my toys…well that was a bit humbling.
I wish I could go back sometimes and tell pre-teen me about all the cool theatre things I’ve had the opportunity to do. She would be astounded to learn about my first trip to see a Broadway show (The Lion King), my plans to see some more this Christmas, revolutionizing in Les Miserables, having a lead roles in Guys and Dolls AND West Side Story, seeing Idina Menzel TWICE, meeting Bebe Neuwirth, seeing the ruby slippers worn by Judy Garland at the Smithsonian, being the donkey in Man of La Mancha, personally knowing two original Into the Woods stars, watching Taylor Louderman who I once costarred with becoming a star, and now getting to sing the iconic Kander and Ebb songs in Cabaret. These were all things that seemed far out of reach at ten, but at twenty are fond memories. It certainly would have been a relief and boost to know all this was ahead. But I guess in a way it’s better that I can’t. That way, everything is a new surprise and adventure.
Yes, I’m an obnoxious, living example of the stereotypical theatre kid (see below).
I will own up to that. But hey, I’m happy. So what if I was an outcast throughout all of elementary and middle school? So what if all my money goes to theatre tickets? So what if I have no life?
Long story short, I’m pretty pumped to be in Cabaret. Come see us, November 11-14. It’ll be a good one! Peace out, girl scouts. Stay classy.
Diamond in the Rough: Hidden Gems of Musical Theatre
The idea for this blog post came, as most of my posts do, from the colorful assortment of theatre people that I call my friends. A friend of mine was asking for song recommendations. I ended up compiling together several songs I knew and love in the musical theatre canon, leaning towards more obscure pieces.
And then earlier this summer, I had the extreme privilege of doing Into the Woods in my hometown with some of the greatest people I know, all of whom are serious theatre geeks such as myself. (I talk about it a bit in this post). So much so that it was a common occurence for us to get together outside of rehearsals and just gather around the piano and sing our showtunes. We’d geek out over all our favorite shows together, and introduce each other to new ones. These were soem of the best moments of doing a show I’ve ever had, and i wanted to try and capture a bit of that magic.
One of the most legendary nights of my life of all of us singing together!
I obviously love musicals, but I have a special love for the ones that don’t get very much attention from the theatre community. In fact, one of my biggest pet peeves in the world of theatre is repetition. I especially tend to see that at auditions, people sticking with the same five songs from the same five shows when there is so much rich material out there. That being said, that doesn’t mean I don’t love the popular, mainstage shows. Many of them are beautiful shows with astounding music, there’s a reason people like them! But I still get a huge kick out of stumbling across some hidden gem of musical theatre. And that’s what I wanted to do with this post, share some of those gems!
Whether you need a unique piece for an audition, showcase, or just a little something something to listen to, I hope you can find some inspiration. This list was compiled from new and upcoming composers, shows still in the development stages, or song that have been around and just don’t get much attention, even if other songs from the same show do. I also tried to include a mix of guy/girl songs, contemporary and older, and from a variety of composers. (And ones that had a decent rendition on YouTube).
So without further ado….lets check out some gems!
“Barrett’s Song”-Titanic
Music and Lyrics: Maurey Yeston (Phantom, Nine, Grant Hotel)
It’s a funny thing with this show. It won the Tony for Best Musical and Best Score…and while it’s certainly not forgotten, it doesn’t have quite the prestige of other Tony-winning shows. I think part of it is that not a ton of companies do it because it’s such a technically demanding show. Regardless, it won Best Score for a reason, and I personally think it’s one of the best musical theatre pieces for a tenor. (And yes, I’m a Titaniac and just love that Frederick Barrett and the rest of the RMS Titanic crew are musical characters.
“Blue Hair”
Music and Lyrics: Joe Iconis (Be More Chill, The Black Suits, Things to Ruin)
This is the song that introduced me to Joe Iconis, and it’s a great one at that. Quicky, spunky, with a lot of great actable bits. I especially like that it’s tailored for a youthful, teenaged character without being phony, obnoxious, or chiched about it. And I think it translates well to a small, intimate performance space.
“Come With Me”-The Boys From Syracuse
The second one was where I first heard this song, and contains a perfect audition cut and rendering of the song. The song starts at 1:03, but the whole video is fantastic, cause it’s Ryan Breslin. And hey, this audition helped land him Newsies, so there you go!
Music: Richard Rogers (Oklahoma, The Sound of Music, South Pacific)
Lyrics: Lorenz Hart: (Babes in Arms, Too Many Girls, Pal Joey)
Oh gosh, I wish I was a guy sometimes so I could sing this song. I’m a sucker for any song with a surprise like that. Once again great composers, not the most well known show. It’s fast-paces, sure to get a laugh, add all that together in an audition setting, and you’ll definitely stand out positively to the audition panel. Like I said, it certainly worked for Ryan Breslin!
“Dare to Dream”-Faustus
Music and Lyrics: Michael Mott (Lucy, Mob Wife: A Musical Comedy)
I know this is technically a duet, but since the girl sings by herself for the bulk of the songs, it would be easy to get an audition cut out of it. I’m also a bit obsessed with this song, I can literally listen to it on repeat it for hours on end. I genuinely hope Faustus becomes a full-blown Broadway show someday.
“Disneyland”-Smile
Music-Marvin Hamlish (A Chorus Line, The Nutty Professor, The Goodbye Girls)
Lyrics-Howard Ashman (Little Shop of Horrors, Beauty and the Beast, The Little Mermaid).
I simply love the childhood innocence of this song. We can all relate to wanting to escape from our troubles and find a better place, and this song captures that beautifully. It’s kind of funny, both the men who wrote this song are world-renowned composers with massive hits, but for whatever reason Smile was a flop. But it’s still such a goregeous song, with a lot of emotional range to it.
“Hurry Up Face”-Snoopy the Musical
Music: Larry Grossman (Goodtime Charlie, Grind ,Paper Moon)
Lyrics: Hal Hackady (Minnie’s Boys, Ambassador, Teddy and Alice)
You’re a Good Man Charlie Brown is a community theatre staple, but it’s counterpart Snoopy doesn’t seem to have caught on quite as much. I personally prefer Snoopy because it has all the charm and fun of Charlie Brown but isn’t so overdone. This one is sure to bring a smile to the listener, and who hasn’t had this sentiment at least once?
“I Am My Mother’s Son”-In My Life
Joseph Brooks: (Metropolis)
This show/song has got to be the holy grail of obscure musical theatre! I can’t attest for the rest of the score because I haven’t heard it, but this song is beautiful! Groff gives a good explanation for this song so I won’t repeat information but I wanted to share on here for more people to know of it.
“I Could Be In Love With Someone Like You”-(A song cut from) The Last 5 Years
Music and Lyrics: Jason Robert Brown (Parade, Honeymoon in Vegas, Songs for a New World)
Okay, yes, I couldn’t pass up an opportunity to showcase some Tveit, but I really do like the song. For those of you who know The Last 5 Years, this song was replaced by “Shiksa Goddess”. I personally think “Shiksa Goddess” is the superior of the two, especially for introducing Jamie at the top of his relationship with Cathy, but this is a good one as well.
“In L.A.”-Fame
Music: Steve Margoshes (Soul Doctor, Jack Sound)
Lyrics: Jacques Levy (Oh! Calcutta)
The musical Fame is wildly overshadowed by the TV series and films, but that’s kind of a shame there are several gems for guys and girls in it. This song especially always gets me, I did this show a few years ago, and I’d always listen to this song in the wings and just weep. It’s a very vocally demanding song, but if you’ve got the pipes then by all means sing it!
“Larger Than Life”-My Favorite Year
Music: Stephan Flaherty (Seusical, Ragtime, Lucky Stiff)
Lyrics: Lynn Ahrens (Anastasia, A Man of No Importance, Once on This Island)
What’s so great about this song is that there are so many layers to it. There’s the memory of being a kid enraptured by a childhood hero, but then there’s the element of having your father walk out. It’s another song I would use all the time if I was a guy. Men, I am begging you, use it for my sake!
“Live Out Loud”-A Little Princess
Music: Andrew Lippa (The Wild Party, The Addams Family, Jon and Jen)
Lyrics: Brian Crawley (Violet)
There are simply not enough good things I can say about this song. If you want something contemporary and exuberant I can’t think of a better choice. I dare you to listen to it and not feel uplifted, I freaking dare you.
“Now”
(Yes, there’s a girl and guy key! Praise the Lord!)
Music and Lyrics: Scott Alan (Dreaming Wide Awake, Keys, What I Wanna be When I Grow Up-Those are all albums)
What I adore about this song, despite just how exquisite it sounds, is that it talks about a part in relationships not many songs touch on-the part where you’re no longer together, but you keep having to physically see each other to make the breakup complete. There’s something about that which makes this song so haunting to me.
“On the Atchison, Topeka, and the Santa Fe”-The Harvey Girls
Music: Harry Warren (Gold Diggers of 1933, what later became 42nd Street)
Lyrics: Johnny Mercer (“That Old Black Magic”, “Come Rain or Come Shine”, “Moon River”)
So Harvey Girls is one of the many MGM musical movies that aren’t onstage, but gosh dang it it should be. But this song did make it to Sherie Renee Scott’s autobiographical show Everyday Rapture, and I think it made it to End of the Rainbow, the play about Judy Garland, so it technically has been performed on Broadway. But I’m a sucker for Judy, and this is one of my favorite things she’s done. Check out the movie sometimes, it’s a great one!
“Sunset Boulevard”-Sunset Boulevard
Music: Andrew Lloyd Webber (Cats, Song and Dance, Starlight Express)
Lyrics: Don Black (Billy, Bar Mitzvah Boy, Dear Anyone)
Here is another example of a show that got both best musical and best score, but still isn’t in the mainstream musical theatre. I think it’s one of Webber’s best scores. Norma Desmond’s big songs “With One Look” and “As If We Never Say Goodbye” get done quite a bit, but for whatever reason this one not so much. So gentleman, take advantage of it!
So ladies and gents, there you have it…or do you? Please do not think that this is the extend of the hidden gems out there. Heck, that’s not even the extent of the hidden gems that I know of! Could there be a follow up post where I highlight some more? Maybe…just maybe…
But in the mean time, peace out girl scouts. Stay classy.
So…I was planning on doing revues for both of the Muny shows I saw..but to add some variety, I decided to do a post in between-especially since I will also be doing revues of Idina Menzel’s concert and the Lucky Stiff movie.
So this is actually my final research paper for my Musical Theatre History class…which was hands down the BEST class I’ve ever taken!
In the 1950’s rock and roll began to take over America’s popular and Broadway’s music was beginning to leave the main stream of American culture. For the first time in decades, hits from The Beatles and their contemporaries were dominating the Top 40 instead of the popular songs from musicals. In fact, Louis Armstrong’s version of the Hello Dolly’s title song would be one of the last times in the 20th century that a song from a musical would be in the top charts (“Tradition’). Furthermore, with the issues facing the country, the light, happy shows that had more or less become the norm seemed irrelevant. The general public, and even Broadway artists of the time were of the opinion that theatre had hit a dead end and had become “boring” (Miller, 66). Little did they know that in 1967, New York Theatre would be introduced to a new work that would change the game of the American musical forever: Hair. With a minimal and non-linear plot, the show’s focus was not on the characters or a story, but on the attitudes of the time, especially those of the hippie counter culture. The hippies were a force to be reckoned with in the sixties, and essentially the opposite of everything the previous generation of baby boomers had stood for. They rejected their parents’ ideals of racism, war, and capitalism, and instead devoted their time to spreading peace, loving nature, mind-expanding drugs and free love (Wimmer, 2). The show’s title came from one of central symbols of hippie life, the long-growing hair of both sexes that represented a rejection of the conservative, corporate world (Miller, 71). Hair consisted of a variety of themes and images that when processed as a whole, provided both a criticism of the dominant culture and a celebration of the free hippie spirit. The drab work-type clothing represented the rejection of materialism the hippies had become adamant of, long hair of both sexes celebrated gender equality, and even the inclusion of nudity celebrated the hippie’s glorification of the hippie body, rather than covering it up as something shameful (Miller, 67). Indeed, Hair was a major reflection of the United States in the 1960’s, seeing as it directly dealt with two of the largest events in America of the time: the advent of rock and roll, and the Vietnam War. Indeed, rock and roll pushed the story along, and the stark reality of the Vietnam War hangs as an undertone and less than subtle sub plot. Vietnam especially had more or less polarized the country into two groups of people: The people in support of it, and the people protesting it (“Tradition”). Hair was told from the point of view of the people against it: the long haired hippies. Hair changed American musical theatre by introducing the first rock musical, creating a new front of what was allowed onstage, and by establishing the relevance of Off-Broadway.
Hair was the first musical to truly bring rock to Broadway. A few years prior, Bye Bye Birdie had given Broadway the first taste of rock and roll, with Elvis-type crooner Conrad Birdie serenading the audience with the “rock” song “One Last Kiss” (Mordden, 6). However, the majority of the score, and the rest of the show for that matter, more or less followed under the outline of traditional Broadway musicals. Hair’s creative team, consisting of Gerome Ragni, James Rado, and Galt MacDermot, utilized rock music in creating a musical about hippie culture out of necessity. Unlike their predecessors, the beats, hippies had chosen rock and folk music as its anthem and sound (Miller, 70). Therefore, it was only fitting that the music used to tell their story and point of view of the world was to utilize rock music. Many of the songs such as “Ain’t Got No Grass” or “Three-Five-Zero-Zero” were performed in a rapid fashion that the audience didn’t always catch all the lyrics. The tribe of hippies would sing in quick succession “Ain’t got no earth, ain’t got no fun, ain’t got no bike, ain’t got no pimples, ain’t got no trees, ain’t got no air, ain’t got no water, city, banjo, toothpicks, shoelaces, teachers, football, telephone, records, doctor, brother, sisters, uniforms, machine guns, airplanes, air force, germs,” (Rado and Ragni, 36). This was done intentionally, as the words were not important so much as the way they sounded and the attitudes they expressed (Miller, 72). Having a non-conventional rock score gave composers Rado, Ragni, and MacDermot the freedom to do so. Within the “rock score”, Rado and Ragni incorporated the several sub-genres of rock into their show. This included the soul sound of “Aquarius”, the Motown feel of “Black Boys/White Boys”, and the psychedelic twinges of the “Be-In” sequence. It was ultimately this inclusion that made the score more genuine to rock and set Hair apart from earlier, unsuccessful attempts to create rock musicals (Wollman, 52). The hippies of the 1960’s, for all their talk of peace and harmony, were still an angry bunch. They were fed up with their country and the way it treated the working man, and believed that they were the salvation of the country (Miller, 70). The fast beats of rock helped Rado and Ragni put this anger into music, in a way that could be properly presented onstage for the world to see. For the first time in a long time, what was on the Broadway stage was also reflecting what was on the radio. Rock and Broadway were no longer mutually exclusive, Hair proved that the two could be one in the same (Wollman, 12). Not only was the music being done new, but so was the way in which it was performed. Rather than bring in a pit orchestra at the end of the rehearsal process right before performances, the band that ended up playing in the first run of the show was there at rehearsals with the actors almost from the beginning, and would eventually end up being onstage with the performers instead of being exiled to an orchestra pit beneath the stage (Wollman, 51). It was this kind of symbiosis and collaboration that would translate from off to on Broadway and help set Hair apart from the other musicals of the decade. While Hair was still in its off-Broadway run, other artists were starting to follow suit and try to make a similar product. Composers Hal Hester and Danny Apoliner created a show called Your Own Thing, which ran off-Broadway and was billed as “a new rock musical (Wollman, 59). Though that particular show never really took off, it was the beginning Hair’s impact on the rest of the theatre community, especially in creating rock musicals. In the 1970’s, Godspell and Grease would both be introduced to Broadway, neither of which could have existed without Hair as a pioneer.
Hair marked new ground in what was allowed onstage, and what could be expressed. In the previous year, Broadway had paved their way with Kander and Ebb’s Cabaret, depicting scantily clad women, gender bending, abortion, and the heavy reality of war. These themes, however shocking they may have been for the time, paled in comparison of what Hair had in store for its audience. For decades, musical theatre had served as an escape from the harsh realities of the world, especially during the previous World War. But in the tumultuous sixties, joyous shows such as Hello Dolly tried to ignore the dramatic and still controversial social changes (“Tradition”). While the show was a celebration of the free hippie lifestyle, it was also a biting social commentary. The songs criticized America for racism, its involvement with Vietnam pollution, and everything else that was glorified by the hippie counter culture The script was riddled with four letters words, drug references, and full frontal nudity at the end of act one. Naturally this was an outrage to much of the American public. What’s more, Hair not only brought up these subjects, but thoroughly explored them and forced the audience out of their comfort zone. In the same fashion of shows such as South Pacific had done in years prior, it made the audience members truly examine the way they and the their world thought and functioned. (Miller, 89). Not only was the subject matter difficult to swallow for some, but the way it was presented in was far off the beaten path. The lyrics didn’t always rhyme, songs had no endings, and there was no real central plot, rather a stream of ideas and characters streamed together (Miller, 67). To add on top of that, for the first time cast members didn’t just exist onstage, but began the show intermingling with the audience members, often in their laps and faces before making their way to the stage for the show’s opening, “Aquarius” (Miller, 72). A storm of controversy surrounded Hair’s edgy material and unusual storytelling, but despite the negative attention it received, the show was still an acclaimed hit. The initial production ran on Broadway at the Biltmore theatre to sold-out audiences for four years (Mordden, 231). Part of the show’s popularity came from the effective closing of the age gap. For decades, theatre going had been considered an activity reserved for the white upper and middle class, but Hair audiences would see youth sitting beside them eager to see their generation played out in front of them. The appeal of glorifying the hippie culture to the younger generation, and the older generation coming to try and understand them, bringing two generations together in a way that no other theatre work prior had ever done (“Tradition”). It was these ideas and subjects that made Hair almost not transfer to Broadway after it had finished its run at Joe Pap’s Public Theatre and at The Cheetah. Most of the management at the available Broadway theatres told the creative team that they did not want the show in their space (Wollman, 46). Eventually David Cogan, owner of the Biltmore Theatre, consented to bringing Hair to his theatre, and Broadway was never the same.
(This was the tour that made me fall in love with this show).
The success of Hair was critical in establishing Off-Broadway, specifically, establishing at as a place for new musicals to have a test run before moving to Broadway. New York had held theatre beyond the scope of Broadway for years, but the idea of “Off-Broadway” and “Off-Off Broadway” was a relatively new one. The term was coined in the 1950’s around the time Off-Broadway was beginning to really peak (Wollman, 42). Not only was Hair a product of the hippie movement, but also of the experimental theatre movement that was taking place in New York City. Being away from the pressures and microscope of Broadway gave these theatres and shows the chance to take risks, make mistakes, and experiment without fear of too much financial or public backlash. So much so in fact that some of these “theatres” where this experimental work was being done was not really in theatres at all, but in ware houses, churches, basements, or even parking lots (Wollman, 43). The formula of a show with a defined plot that had been established with Oklahoma and had started musical theatre as we truly know it. The experimental theatre movement threw all that out the window to make a whole new playing field in theatre. In some ways it was a step back, but it was also a massive step forward. It began in SoHo and the Greenwich Village, as well as with Samuel Beckett with theatre of the absurd in Europe (Wimmer, 3). This movement emphasized on improvisation, group collaboration, and trying to find new ways to bring ideas to an audience, and breaking down the fourth wall (Miller). Directors and producers were testing new creation process for shows consisting of workshops that were just as, if not more important, than the actual presentation of the work (Miller, 72). Doing the show in this manner and not hiring Broadway talent from the front would bring a new sense of authenticity to the show. Instead of the seasoned theatre actor, the creative team cast fresh-faced kids who dressed like the hippies they were playing and listened rock music like what was in the show (Wollman, 48). Hair’s director, Tom O’Horgan, was a huge figure in experimental theatre, a title which would only be solidified by his work on Hair. Hair first opened in Joseph Papp’s Public Theatre. Hair had an eight week run, which earned fantastic reviews and was an enormous success. Once the run had ended, in order for Hair to continue to flourish, the only solution was for it to move to another location. Joseph Papp was unable to keep the show running any longer, as he had already scheduled a new production of Hamlet in the Public Theatre (Grode, 116). Papp collaborated with producer Michael Butler to move Hair to New York disco tech known as The Cheetah, where the show underwent drastic cuts and revisions, including new songs, new cast members, and new members to the creative team (Miller, 67). One of the most drastic changes from off-Broadway to on Broadway was incorporating other aspects of hippie culture besides protesting the Vietnam War The show’s only real story line still remains about the character Claude being drafted and eventually being shipped off to and dying in Vietnam, but initially that’s really all the show was about until it went under rewrites for the Broadway production (Miller, 73). This was exactly what the show needed to become a bona fide Broadway show, instead of a hippie hodge podge. Many of the show’s monologues by characters in the initial run became songs, characters and their relationships were strengthened and more relevant. (Grode, 116). In fact, it was the public’s reaction to President Johnson’s action concerning Vietnam between the time Hair premiered Off-Broadway and it’s opening on Broadway at the Biltmore Theatre that eventually made Hair the Broadway hit it became. Three months before Hair’s Broadway run, Vietcong set off their “TET” offensive throughout Southern Vietnam, leaving even the American troops in Saigon in the enemies hands (Wimmer, 4). President Johnson had for a time convinced the American people that the situation in Vietnam was under control, but this new development proved just how wrong he was. The American public was outraged and disheartened with America’s involvement in Vietnam, making the anti-war elements of Hair all that more appealing to the American public (Wimmer, 5). It was this immense success that made the rest of the world and the theatre community at large pay attention to and eventually take advantage of Off-Broadway and experimental theatre. Within two years of the Broadway opening, the show had opened in fourteen overseas cities and become a world-wide phenomenon, much like The Beatles in a way that no prior musical had done (Wimmer, 11). One of the major ways Hair helped give new life to off-Broadway was helping establish Joseph Papp’s Public Theatre. Hair’s world premiere gave it a home on Lafayette Street where it remains to this day (“About the Public”). Hundreds of works first seen at The Public went on to major Broadway and regional productions all over the United States, and has gone on to represent and expose new writers and actors. Such talents include David Rabe, Thomas Babe, Ed Bullins, Caryl Churchill, David Hare, David Henry Hwang, Wallace Shawn, Vaclav Havel, Miguel Pinero, Ntozake Shange, Michael Weller, George C. Wolfe, David Mamet, Tina Howe, James Earl Jones, Meryl Streep, Raul Julia and Kevin Kline (Rothstein, 1). The Public Theatre would also go on to produce another landmark musical: A Chorus Line. Joseph Papp gave Michael Bennett the backing to develop, and eventually put on A Chorus Line at The Public Theatre, and it became Broadway’s next unlikely but widely resonant and long-running hit (“Tradition”). To this day, it is still the tradition, and almost a mandatory one at that, for a show to have a pre-Broadway run and then open on the Great White Way, which was all started by Hair. When an off-Broadway show opens producers will examine the reviews and tickets sales of said show, and then take the successful ones to Broadway (Wollman, 42).
Upon Hair’s initial off-Broadway opening, Wall Street Journal John J. O’Connor wrote “No matter the reaction to the content…I suspect the form will be important to the history of the American musical,” and he was indeed correct (Miller, 66). Though Bye Bye Birdie had certainly flirted with the notion of including rock music in its score, Hair was the first show to truly be a full on rock musical. The genre was one of new items to be on a Broadway stage, but Hair introduced a slew of other new subjects to Public Theatre, forever changing the rules of what was and wasn’t allowed onstage. Finally, Hair’s initial success at Joe Pap’s Public Theatre before moving to Broadway created Off-Broadway as a place for the musical to develop and grow before opening on Broadway. Despite objections the public may have had with Hair, it was exactly what the Broadway community needed. It brought in a whole new generation of young people into theatre. The exuberance and honesty of the hippie culture injected Broadway with a new, and much needed, life. In some ways, it seemed that Hair did everything wrong from its racy material, lack of book, initial off-Broadway production, and use of rock musical (Barnes, 69). However, it would prove to be the combinations of all the “wrong” things that would make one very right hit that would leave Broadway irrevocably changed.
Works Cited
“About The Public.” About The Public. N.p., n.d. Web. 24 Apr. 2015.
Mordden, Ethan. Open a New Window: The Broadway Musical in the 1960’s. New York: Palgrave Macmillan, 2001. Print.
Ragni, George and Rado, James. Hair: The American Tribal Love-Rock Musical. New York: Pocket Books, 1969. Print.
Rothstein, Mervyn. “Joseph Papp, Theatre’s Champion, Dies.” The New York Times 1 Nov. Web. 24 Apr. 2014.
“Tradition.” Broadway: The American Musical. Writ. JoAnn Young. Dir. Michael Kantor. PBS. 2004. PBS.
Wimmer, Adi. PDF. N.p.: Summer of Love. The Beatles, Art and Culture in the Sixties, n.d. The Musical Hair.
Wollman, Elizabeth L. The Theatre Will Rock: A History of the Rock Musical, From Hair to Hedwig. Ann Arbor. University of Michigan Press, 2006. eBook Collection. EBSCOhost. Web. 24 Apr. 2015.
I have a confession to make: Until this year, I had never seen Into the Woods onstage. Yes, I’d seen the original Broadway production on DVD-and I personally know two of the cast members from that production. I’d seen the Disney film that came out last year, and I own three different cast albums of it that I listen to for hours on end. I’m even currently serving as a production assistant for a local production of it-but I despite all of this I had never seen the show live in an actual theatre from beginning to end.
I’m so happy to report that as of this past Wednesday night, that was finally remedied.
It’s been a long time summer tradition of mine to go to shows a The Muny in Saint Louis, Missouri. Some shows are better than others, but it’s so exciting getting to see so much top-notch Broadway talent in my home state-and with free seats in the back none the less! This made my tenth summer coming to The Muny, and my twenty-fifth production I’ve attended. So from the beginning, this was a special night at the theatre.
But it gets better. One of my favorite theatre women of all time was starring in this production as the Witch-the remarkable Heather Headley. I first fell in love with her as the title role in Aida, one of my all-time favorite musicals. (It was that role that got her a well-deserved Tony). I about fell out of my seat when I found out she would be in my state for the summer. Joining her was Rob McClure of Broadway’s Honeymoon in Vegas and Chaplin, and Muny regular. (I caught him back in 2011 as Seymour in Little Shop of Horrors)
Amelia, Me, Rob McClure after Little Shop in 2011
Rounding out the cast was Jason Gotay, one of the enchanting Lost Boys of Peter Pan Live as Jack, Muny regular Ken Page (Also the Original Broadway Old Deuteronomy in Cats and the voice of Oogie Boogie in Nightmare Before Christmas) as the Narrator, and a multitude of other wonderful folk that I will be talking about as we go on.
Me with Ken Page after Beauty and the Beast in 2010.
So long story short, I was pretty excited-and especially excited to be sharing this night with my dad and my bestie, Hallie Glaser. I had previously had my dad sit down to watch the OBC DVD, and taken Hallie to see the movie in theatres with me. We arrive at The Muny, and claim our free seats-which were actually right in front of the free seat section. We had just finished some pizza, and we were chowing down on Sour Patch Kids. (When Hallie and I come to The Muny together, it’s our tradition to get Sour Patch Kids. This started when we saw The Little Mermaid in 2011 with our friend Michaela. Hallie’s mom had brought some snacks for us, including Sour Patch Kids, and I accidentally ate them all before the show. They gave me a hard time, so the next time Hallie and I saw a show together at The Muny I bought her some to make up for it, and now it’s our tradition).
Shortly after we sat down, the evening started off eventful. The doors hadn’t opened for the paid seats yet, so it was empty except for Muny staff, and one man in street clothes running up and down the steps. I thought that was a tiny bit strange, but when he came closer up to my section, I thought he looked familiar. Then it hit me-it was Rob McClure, tonight’s Baker! This may have been cheeky of me, but I shouted out “Hey Rob!” and he actually looked up and waved and smiled at me, which was pretty cool.
Rob McClure-Photo courtesy of Broadwayworld.com
Once Rob had gone, I took that chance to check out the set-at least what was visible before the show. The initial back drop was that of fairy tale books, which three large stand up ones in front of it that would revolve to reveal the homes of their respective inhabitants. Yes, this included a book entitled “The Baker and His Wife” which I thought was pretty cool, because even though they are essentially the only characters that weren’t directly extracted from Grimm Fairy Tales, it is their story that brings everyone else together.
So finally the show starts, and the first thing I see is a cluster of young-ish kids come onstage, and I can’t help but cringe a bit. Yes, I love the Muny, but it kind of gets old how they drag the Muny Kids into everything. (Okay, maybe I’m just a little jaded because I never had the opportunity to be a Muny kid, but still.) I’m expecting the Narrator to be coming out and telling the story to the kids, which is a bit cliché in my way of thinking. But then Ken Page comes out as the Narrator, and the kids pull out black robes and scurry off. As the show progresses, they reappear to move along the story, changing the set, bringing on Cinderella’s birds on wires, helping with the Witch transformation. For the Finale, they come back onstage and remove the robes, becoming kids once again. Incorporating the Youth Ensemble into the show that way was actually pretty cool. They became a part of the show, and it’s almost as if they were also helping to pass it along so more people could hear it. So good job, Muny, that’s how you should use your Muny kids instead of dropping them in at random as you do in some of your shows.
Elena Shaddow and Company-Photo courtesy of BroadwayWorld.com
So the Prologue begins, and one by one our characters appear and are introduced to the audience. I was instantly captivated by the beautifully melodic voice of Cinderella, played by Elena Shadow.
Elena Shadow-Photo courtesy of BroadwayWorld.Com
(Who looks just like Sarah Michele Gellar…which is especially funny since Gellar played Cinderella in a Disney Princess Rap Battle…which if you haven’t seen check it out it’s pretty funny…)
On the opposite side of the stage is the endearing Jason Gotay as Jack, which his beloved cow Milky White. I was extremely impressed with how Milky White was accomplished in this production. She’s a puppet for all intents and purposes, with two actors inside of her controlling her movement. The cow legs attacked to the actor legs, allowing for realistic movement, and a cow that was actually cow-sized.
Zoe Vonder Harr, Jason Gotay, and Maggie Lakis-Photo courtesy of BroadwayWorld.com
(But if you’d like some examples of some not so great Milky Whites, check out the blog below. It’s definitely good for a laugh)
Which brings up the subject of costuming. One of my few quips with this show as some of the costuming choices. They were beautiful costumes, but they were somewhat inconsistent. Some of the characters like the princes, the Mysterious Man, The Witch in Act I were dressed in the traditional garb expected of Grimm’s fairy tale characters. But then other characters were dressed in more modern style clothes. The stepsisters’ dresses resembled prom dresses,
April Strelinger and Jennifer Diamond-Photo courtesy of BroadwayWorld.com
…and Jack was done up in denim overalls and Converse (Which he rocked, don’t get me wrong…).
Jason Gotay and Maggie Lakis-Photo courtesy of BroadwayWorld.com
And then other costuming too closely resembled others. For one, Little Red had her hair in dark braids, with a blue dress and bright red shoes…between that, the skipping and the basket, she SCREAMED Dorothy from The Wizard of Oz. (Although the red shoes with her striped socks said more “Wicked Witch of the East”….just saying).
Sara Kapner-Photo courtesy of BroadwayWorld.com
And then all the princesses looked like they were from the Disney films. Cinderella had the long floofy pale blue dress…
Elena Shaddow-Photo courtesy of BroadwayWorld.com
….Rapunzel was dressed in a purple dress like that of Tangled…
Samantha Massell-Photo courtesy of BroadwayWorld.com
and both Snow White and Sleeping Beauty’s dresses were identical to that of their animated Disney counterparts. For those last two, it’s understandable since they’re only onstage for a few minutes, and most people, especially those in the back, may not have gathered that that’s who they were without the obvious clues. (Even though the princes VERY clearly sing about them in the “Agony” reprise). The last nail in the coffin for me was having the Witch, who was played by an African American woman, having a green sparkly dress…..so essentially they also threw Tiana from Princess and the Frog in there too.
Heather Headley and Company-Photo courtesy of BroadwayWorld.com
But one costuming choice that really resounded me was that of the Baker’s Wife. She was clad in a fifties style dress with an apron and high heels, making her look like a June Cleaver-esque house wife. Once again it was inconsistent with the rest of the costume choices in the show, but I think it worked well for her character. I think dressing her in that way symbolized how she felt somewhat stuck in her relationship and her life as a housewife, hence the line “At home I feared we’d stay this way forever”. However it’s that feeling of discontent and maybe a little boredom that leads her to eventually agree to get it down with The Prince.
Erin Dilly-Photo courtesy of BroadwayWorld.com
Since I’ve brought them up, this is now as good a time as any to sing the praises of Rob McClure as the Baker and Erin Dilly as the Baker’s Wife. The Baker is a character that can easily become bland and spineless, but McClure brought a vitality to him that could not be ignored. His Baker’s one eighty change by the end of the show came about at a believable pace. Probably the most evident of these, for me at least, was his gut-wrenching “No More”. I was definitely in tears. Erin Dilly as the Baker’s Wife was a vibrant performance. Her voice and her acting were pitch perfect, I could genuinely believe that she loved her husband and child, but at the same time had that side of her that would lead her to stray.
Erin Dilly and Rob McClure-Photo courtesy of BroadwayWorld.Com
But back to the Prologue…Heather Headley comes on with a huge round of entrance applause. And then she opens her mouth to speak, and oh my goodness gracious. Even just talking her voice is so enchanting to listen to. It has this rich, deep quality that grabs your attention. And then when she puts it to use to sing it’s unspeakably beautiful. Even though it was ten years ago now, she sounds so much like she does on my cast recordings of Lion King and Aida. I heard her and instantly thought “Oh yeah, that’s Heather alright!” And her Witch’s rap was spot on!
Heather Headley, Erin Dilly, Rob McClure-Photo courtesy of BroadwayWorld.Com
Then it’s time for everyone to start their respective journeys. The backdrop opens up to reveal an enormous, rotating maze-like structure with many levels, steps, and passageways for the actors to journey over. With the actual trees and wildlife behind it that an outdoor theatre provides, it was quite convincing.
After the Prologue we meet the Mysterious Man, who in this production also played Cinderella’s father, which I think was a choice that worked well. The rest of the double casting was the standard fare from the Broadway production, with the same actor playing the Wolf and Cinderella’s Prince, and the same actress playing Cinderella’s Mother, Granny, and the Voice of the Giant. Michael McCormick (Who I saw play Thenardier the last time the Muny did Les Mis), Andrew Samonsky (Who I caught there as Jimmy in Thoroughly Modern Millie), and Anna Blair all did an outstanding job balancing all their respective roles and making each one distinct and memorable.
Sara Kapner and Andrew Samonsky-Photo courtesy of BroadwayWorld.Com
Speaking of the Wolf, this costume too felt a little too similar to the one from the 2014 film, but thankfully this did not diminish Andrew Samonsky’s menacing wolf. He was scary and played the double meaning of eating Little Red and, well, other things well without being too over the top about it. Sara Kapner played Little Red, while she had an outstanding voice, of all the actors she’s the one I saw the least amount of development from. The Little Red at the end of the show felt much to me like the same little girl we met at the top of the show. Granted, I was in the free seats, so it’s very likely she had some more subtle nuances and growth in there that I just couldn’t pick up on from my seat. But I’m just nitpicking, really.
This production chose to include The Witch and Rapunzel’s duet, “Our Little World”, which is not my favorite song in the show, not by a LONG shot. But both women had such outstanding voices, that I really didn’t mind. In fact, I was glad I got to hear more singing from both of them. Samantha Massell as Rapunzel was a treat, she had this amazing, unearthly singing voice that was both delightful and haunting. And Heather’s Witch had a lot more emphasis on her relationship, unhealthy as it may be, to Rapunzel.
Samantha Massell and Heather Headley-Photo courtesy of BroadwayWorld.Com
Along comes Cinderella again, running from her prince into the Baker’s Wife. The two of them had lovely and believable chemistry together. Elena Shaddow’s Cinderella wasn’t as developed as she could have been, but she still brought a striking loveliness to the role.
One midnight goes by, and up Jack goes to the beanstalk, and thus he sings about it in “Giants in the Sky”, sung fantastically by the aforementioned Jason Gotay. He absolutely nailed that song, and the rest of his scenes as well. I think his Jack is my new favorite. He definitely grew throughout the show, but not without losing that loveable innocence and exuberance of a child.
Jason Gotay-Photo courtesy of BroadwayWorld.Com
Both Cinderella and Rapunzel’s Princes, played by Andrew Samonsky and Ryan Silverman respectively, did an exquisite “Agony”. The perfect amount of cheese and princely-ness and well sung to boot. These two characters always struck a chord with me, because I’ve known so many guys like them who are deceptively charming but turn out to be absolute jerks.
Andrew Samonsky and Ryan Silverman-Photo courtesy of BroadwayWorld.Com
As Act I progresses we get more Cinderella and Baker’s Wife interaction, and an absolutely heart-warming performance of “It Takes Two”. And then comes “Stay With Me”……oh goodness gracious. Listening to Heather Headley sing this song was worth the drive up alone. Heather’s Witch was so different from any other I’d seen. While I love what Bernadette Peters and Meryl Streep did with the character, their portrayals were that of this supernatural being who was above everyone else. Heather’s was probably the most human and relatable by far, with all of her actions purely driven by her wants and desires. I actually found myself sympathizing with her, which was a first for me. And of course, it was so gorgeously sung.
So Act I comes to a close, and it looks like all will come to a happy end….hahahahahaha what show did you think it was? The giant arrives, chaos ensues. All of that accumulates to the first interaction with the giant that ends in three deaths. Quick shout-out to Zoe Vonder Haar who played Jack’s mother. I saw her years ago as Mama Rose in Stages’ production of Gypsy, and it was a real treat to see her again in this show. She was outstanding once again as Jack’s mother, especially in her death scene. We also see the deaths of the Narrator, played exquisitely by Ken Page, and the gruesome death of Rapunzel.
Zoe Vonder Haar and Company-Photo courtesy of BroadwayWorld.Com
This prompts the “Witch’s Lament”, which honestly, is usually the song I skip when I listen to the cast album. But if I had a recording of Heather Headley singing it, I would never do so. She was literally crying through the whole song, genuinely mourning the loss of her daughter. It was more than clear to me that from there on out, it was this moment and her pain that prompted the rest of the Witch’s actions in the show. Her desire to give Jack to the giant is her way of avenging her daughter, and “Last Midnight” his here way not only to get away from the other characters, but away from the loss of her daughter. I don’t think I’ve seen anything like it.
From there the characters split up and even more mayhem ensues….and Cinderella’ Prince has relations with The Baker’s Wife. She’s obviously enchanted, but little does she know that to the Prince she is just another good time. I straight up wanted to punch him. Baker’s Wife dies, but not before a conflicted and raw performance of “Moments in the Woods”.
Andrew Samonsky and Erin Dilly-Photo courtesy of BroadwayWorld.Com
The remaining characters find each other again, and the rest of the characters, led by the Baker, seek to find who is to blame for the giant coming to the land. Heather Headley does her magnificent thing, and vanishes, leaving Cinderella, Little Red, Jack, and a despondent Baker to find their way out of it all together…but not before the Baker almost leaves his child with them.
Elena Shaddow, Sara Kapner, Heather Headley, Rob McClure, and Jason Gotay-Photo courtesy of BroadwayWorld.Com
His run-in with his father once again convinces him otherwise. As I said earlier, Rob McClure’s “No More” is absolutely gut wrenching. That and “Last Midnight” were probably my favorite parts of the productions.
Leading into “No One Is Alone”, we have the scene in which Cinderella and her prince part ways. I’ve mentioned this in my Bechdel post (Which you can read here) that I ship Cinderella and The Baker as a couple. Elena Shaddow did a little thing that set my little heart afire. During her line “My father’s house was a nightmare, your house was a dream, and now I want something in between,” (Which happens to be my favorite Cinderella line), she very deliberately looked down at The Baker’s baby, as if she could already see herself becoming his mother!
I don’t know why, but for whatever reason “No One Is Alone” didn’t hit me as hard as it normally does. Maybe I was already drained from the previous two songs, maybe I was distracted by the plane that went over, or maybe I was just too made at the people who were getting up and leaving during that song. That’s the one thing I HATE about going to the Muny, is that the audience often has such TERRIBLE etiquette, especially the people in and near the free seats where I sit. Clearly they didn’t read my last blog post. Then maybe they would know a thing or two about not being late, staying in your seat, and not leaving until after the curtain call. Every time I go there’s a part of me that wants to get up and punch several of the people I’m sitting around. But I digress.
So as the show comes to its conclusion, everyone returns, not the same as they are when the show opened. The children return to finish the story, ready to then pass on the story to another generation after them, as the Baker does to his son and his son will do for his children. We’ve come full circle, and it’s quite beautiful if I do say so myself. Curtain call comes, everyone takes their bows, the crowd goes wild-especially me. And then it’s time to hit the stage door!
Company-Photo courtesy of BroadwayWorld.Com
Hallie and I run down as fast as we can, fighting the crowds and ducking and dodging in around people to get a good spot in line. And what do you know, we end up being first in line to meet Heather Headley. Surprisingly, she was one of the first ones out! She requested no photos, probably because she had her little boy with her and either wanted to get him to bed or protect his privacy. But just the same, I will never forget meeting her as long as I live, picture or none. Up close, I can see that she hasn’t aged a day from when she did Aida over ten years ago. She had glittering sparkly pink eye shadow that accentuated her eyes, and was wearing a pink Blues Hockey t-shirt. I found that a bit odd at first, I would think that since she’s from Chicago originally that she would be a Black Hawks fan. But I found out later that apparently because she IS such a die-hard Black Hawks fan, some of the crew of the show have been trying to convert her and got her the Blues shirt. I told her I was a big fan and loved her in Aida so much, to which she touched my shoulder and stared right into my eyes and thanked me, in a simple but elegant way in that deep melodic voice of hers. She signed both Hallie and my Playbills, and Hallie’s inlay booklet for her Aida cast recording. She was so incredibly kind and genuine, I could hardly believe it. Did I mention that she touched my shoulder and stared into my soul? Pretty sure I’ll never be the same.
Heather Headley-Photo courtesy of BroadwayWorld.Com
Then Rob McClure come out to meet us, and I told him I was the one who said “Hi” to him before the show, and he laughed a bit, remembering. We told him that we were going to be back next week for Beauty and the Beast, which he told us he started rehearsing for that day. He commented that it was a bit jarring going from one to another, to which I said that it was the one fairy tale that this show didn’t include, which made him laugh again. We got a photo with him, we thanked him, all in all pretty great.
Yes, Hallie and I DO have Little Mermaid friendship necklaces!
And then we located Jason Gotay, who was surrounded by a multitude of people. At one point I tapped him on the shoulder and whispered “Mister Jason?” and somebody in his group pointed in my direction and he turned around and smiled at me, saying hello. I told him I was a big fan, to which he said “Oh really?” I went on to tell him how much I loved Peter Pan Live, especially the Lost Boys, and would watch the DVD over and over again. He then said “You just made my night!” which melted my heart. I mentioned briefly how I’m production assistant for Into the Woods in my hometown, and how I had to fill in for Jack when our actor went to New York for a week, which prompted him to say “Ah, so you know what I go through each night then”. We got a picture with him, but just before we did I noticed that he was still wearing awesome Converse, just like Hallie and I. I pointed that out, to which he said “Hey, so we are” which in turn I said “I’m glad we had this Converse-ation. He laughed and said “Ah, I see what you did there!” You heard it here folks. A Broadway actor appreciated one of my bad puns.
We also spoke briefly with Zoe Vonder Haar, Ryan Silverman, and the girl who played Snow White (Who looked exactly like Lorde, not even kidding). After that we decided to head out, because Dad had to work the next day.
All-together, it was a fantastic production that made me all that more excited to be a part of my own production of it. Well done, Muny.
Speaking of my production, you should totes come to that if you are in the JC area this August. (#Shamelessplug). It runs the 6-9, and 13-16. It’s dinner theatre so you get dinner (from delicious Argyle Catering) for $35. Thursday-Saturday dinner starts at 6:30 with the show at 7:30, and Sundays lunch is at 12:30 with a show at 1:30. You can tickets by calling 573-681-9012 or go to http://www.capitalcityplayers.com. If you’d like a free preview of the show, the cast will be performing this Friday the 31st at 6:30 at the downtown Arts Stroll. I mean, come on, check out this beautiful bunch-and we’re talented too!
Courtesy of Andrew Richmond
In the meantime, check out this highlights vid from the Muny production. So keep on keeping on and hope to see you this August!
If you’ve been paying attention to the theatre world at all (Which you probably are if you’re reading this. Or I pestered you to read it until you caved) then you’ve most likely heard about not one but two major incidents of breaches in theatre etiquette that happened as of late.
The first occurred at a performance of Broadway play Hand to God. According to reports, somebody attempted to use one of the fake electrical outlets on the set to charge their phone. Yes, he actually jumped on the stage with the actors to put his phone in the outlet.
The second was ANOTHER including cell phones. It happened at off-Broadway play Shows For Days where theatre legend and two time Tony winner (and theatre royalty in my book) Patti LuPone confiscated a phone from a woman who was texting-giving it to the stage manager. (I say the offender got off lucky-I’ve been tempted to punch people for doing the same thing).
LuPone is a known stickler for etiquette-a few years ago she yelled at an audience member at the Gypsy revival to “STOP TAKING PICTURES NOW!”
(How are people this incredibly stupid able to land jobs in which they can afford Broadway tickets close enough to the stage where the cast can catch them?)
Sadly they are not alone. In the wake of these events, many in the theatre community are coming forward and talking about awful audience behavior they’ve seen happen.
So I thought I’d jump on that bandwagon. I figures this was a good a time as any to make a blog post about how to be a good theatre patron. I’m aware that I may be preaching to the choir. For those of you are good theatre goers and don’t pull stunts like that, I salute you.
But hey, it’s good now and then for even seasoned theatre goers to have a gentle reminder. And maybe, just maybe, somebody out there will read this that really needed it, and just maybe another one of these incidents can be avoided.
Do your homework before you arrive at the theatre.
You heard me. Being a good patron starts before you arrive at the theatre. Do some basic homework on the show. You’d be surprised how many breaches in etiquette can be avoided by being informed beforehand. For example, find out how long the show is and if there is an intermission. If you’re someone with a tiny bladder, plan accordingly. Find out what kind of show it is. People don’t always realize that there are so many types of theatre presented in a wide variety of ways. Some are more accessible to the average person than others. Learn what content is in the show, and if there is any content that may be offensive, especially if you’re bringing your kids to the theatre. It’s your right as a parent and as a person to not have to attend a show if it’s going to offend you. However, it’s also your responsibility to do that before you purchase your tickets and come to the performance.
Just about every theatre company will put out some kind of note or warning if there is material that might make some uncomfortable. I did a show a couple of years ago, which did, indeed, have some adult content. Even though it was a beautiful production and one of the most fulfilling theatrical performances of my life, we had some negative backlash for touching on adult themes. We had people leaving in the middle of the performance, booing during curtain call, and sticking around after the show to verbally harass the cast and production team. All of this could have been avoided if they had taken two minutes to read the warning we put on virtually all promotional material we put out for the production.
So know what you’re getting into beforehand, and a lot of these problems can be avoided.
Put. Away. Your. Cellphones.
Ah yes, the big one, the partial culprit behind the two incidents the theatre community has been buzzing about (The other culprit being stupidity). This problem didn’t exist until about ten years ago. I too am a cell phone user, and yes, sometimes I find myself with my phone virtually glued to my hand. But you can bet your life that when I’m at the theatre, or at rehearsal, or at anything important my phone is put away and on turned completely off. Not just on silent or airplane mode, but one hundred percent all the way off.
There are several reasons behind this. For one, cell phone signals disrupt the signals of the sound system in many theatres. So unless you want to be subjected to a lot of cracking and popping from the mics and speakers, (which even if you don’t mind, trust me, your fellow audience members and even more importantly the actors onstage will mind) have that phone turned off. Stick it somewhere where it won’t accidently have the power button pressed.
Furthermore, the light and sound is distracting to the people sitting around you, and to the actors. The audience has paid to experience this show, they have the right to do so without being interrupted, and it’s extremely rude to the actors and crew who have worked tirelessly for works to put on this show for you. The least you can do is put away your phone for an hour or two. Whatever you have to do on your phone can wait.
Be on time
It’s really in your best interest to be on time. You avoid having to rush or having to awkwardly crawl over the other people in your row under the usher’s direction. Not to mention it’s a terrible hassle for the ushers and house manager. Some theatres have strict policies regarding late-comers and won’t seat you until certain times, if at all if you arrive late. I personally recommend arriving at least fifteen minutes before the curtain goes up. That way you have plenty of time to use the bathroom (so you’re not leaving in the middle of the show to do so), find your seat, skim the program, etc.
Know your kids before bringing them to the theatre.
I’m all about bringing kids to the theatre, and getting theatre going into their blood at a young age. So many theatre kids I talk to have that one great moment of seeing their first place and being so completely in awe and knowing they wanted this to be a part of their lives forever. For me, going to the theatre and to concerts and other such events was so ingrained in our family’s way of life, that there really is no particular show that sticks out in my mind. I just literally don’t remember a time when theatre was not a major part of my life.
But that being said, there are things to keep in mind when bringing the kiddos to the theatre. As I said earlier, be sure to check the content of the show to see if it’s appropriate for kids. Even if a show doesn’t have adult content, some shows are more accessible to young people than others. Most kids won’t connect with Shakespeare or Samuel Beckett, but thankfully there are lots of other options. Disney Theatrical shows are great choices, or children’s theatre productions that are written specifically for kids to experience the magic of theatre. I personally recommend shows with kids in them, I remember being a kid and thinking it was the best thing ever seeing people my age up there performing.
That being said, don’t bring your kids unless you think they’re ready. In my opinion, I say five and up is a good age. Any younger and they’re not really mature enough to sit down and pay attention. Of course there are exceptions to this, once again it’s a matter of knowing your kids. If you’re going to bring your kids to the theatre, do it for their benefit, not just because you couldn’t find sitter for one night.
So if you chose to bring the little ones, they’re never too young to learn good etiquette. Start by setting a good example for them, and instruct them to be good patrons. Do what you can to keep them quiet throughout the show, intermission and after the show is the time to ask questions and make comments. That being said, if your kid starts crying or screaming during the show, for the love of all things holy take them into the lobby until they quiet down. That is one of the few times it is acceptable to get up during the middle of the show. If you think this is an issue, be prepared by getting seats either on the aisle or towards the back of the house to disturb the fewest amount of people.
Sit down and shut up
You heard me! Don’t be getting up in the middle of the show unless you have a screaming child or there is some kind of dire emergency. (Or maybe if you have a really bad coughing fit). Then by all means get up and do what you have to do. Other than that stay put through the show. This includes staying though the curtain call. The actors have just gone all out to entertain you, the least you can do is stick around for two minutes and applaud. Of course, it’s perfectly acceptable to give a standing ovation if you’re so moved to-but once again, save that for the curtain call.
And be quiet throughout the show. Don’t talk to the people around you, unless it’s to shush your child or to excuse yourself if you absolutely must leave. (See above). Don’t call out to the actors/characters, save that for basketball games.
Obviously you’re going to applaud, but there is a proper time for that. Set changes, ends of songs, the curtain call, etc. are the right times to applaud. (Or occasionally if something really awesome happens-use your best judgement). Don’t be that obnoxious person who keeps applauding when anyone else has stopped.
Obviously the exception to these rules are when the actors break the fourth wall. (For those of you who don’t know, breaking the fourth wall means that the actors acknowledge and/or interact with the audience). If the actor initiates it, go ahead and go along with it and enjoy it. If it’s written in the show it will happen, but don’t try to be funny and distract the actors.
But with all that being said, sit back and enjoy the show!
That is why you’re there, yes? Yes, maybe theatre going does come with a lot of rules to follow, but ultimately they’re there so that the show can be enjoyed by all, yourself included. If you’re not messing around on your phone, you’ll be able to actually give the show that you (or somebody) paid money for your full and undivided attention. It’s amazing what live theatre can make you feel.
And while you shouldn’t obnoxiously talk or be noisy, feel free to laugh…
Or if you’re like me, laugh a lot….
Or cry……
Or if you’re like me, cry a LOT…
Trust me, as an actor, we LOVE that. That’s part of what makes live theatre so fun, is that exchange of energy between the audience and the actors that’s so unique. As Aaron Tveit once said, “Being onstage is just a feeling that you cannot duplicate anywhere else because the energy that the audience is giving you forces you to give more energy. It’s such an output and exchange of energy. You can’t do that anywhere else”.
Not sitting back and enjoying the show uninterrupted is just stupid. Broadway tickets are so freaking expensive, you may as well get what you paid for. Not only that, but do you know how many people wish they could be where you are at that moment? How many crazed theatre people stuck in the middle of freaking nowhere who would do anything for the money to see these shows and performers?
And this isn’t just like a movie that you can rewind or get on Netflix later. Unless the show is freaking Phantom, it’s not gonna run forever. There are only so many chances to see it before it closes, never to be told in quite that way again. And within that run, every single show is a precious treasure because no two shows run the same-that’s part of the magic of live theatre. Years from now people will be talking about how they wish they could have been there, wish they hadn’t been too broke, or wish they had been alive, or whatever.
But don’t think for a minute that good etiquette should be reserved for just professional theatre. Local theatre (which you should totally support because it’s amazing) deserves just as much attention and respect. Most of the time, the people both on and offstage aren’t being paid a cent, and even if they are it probably isn’t much. They have jobs, families, bills to pay, just like you. They are giving up their time to entertain you for no other reason than that they love it and are passionate about it, and that deserves RESPECT.
Theatre is a beautiful art form that deserves your undivided attention. Put up your phones, shut your mouth, and let yourself be immersed. Who knows, you might learn someting or have your life changed.
So moral of the story, use common sense, don’t be a jerk, and everybody will get along fine. Hope you learned something if you haven’t been following these rules. If you have, give yourself a gold star, you deserve it.
And now I leave you with a final ten gifs of how bad etiquette makes me feel….
Bechdel and Beyond: A Look at Musical Theatre and the Bechdel Test
For those of you who have been reading my blog (all two of you-hi Mom and Dad) you’ve hopefully gathered two things: I am female, and I am a HUGE musical theatre nerd. But something interesting and disturbing was pointed out to me recently by one of my favorite video vloggers, xxjessworldxx: A shocking number of musicals don’t pass The Bechdel Test. I didn’t want to believe it….but then Ithought about it, and I realized he was right….
A lot of musicals, even a few of my favorites, fail to pass the Bechdel Test. Now for those of you not familiar The Bechdel Test (Created by Alison Bechdel, the subject of the musical Fun Home) is a feminist test for books, movies, and yes, plays and musicals. To pass the Bechdel Test, a work has to do the following things.
1. Have at least two named female characters
2. Have said characters have a conversation that…
3. Is not about a man.
There are a LOT of great shows that FAIL the Bechdel Test! But on the other hand, there ARE indeed shows that pass the Bechdel Test! They do exist. So I thought it would be a fun blog post to examine a couple of them, and just examine women portrayed in musicals in general. We’ll take a look at a couple of them.
Disclaimer: This is NOT meant to be a consecutive list. First off, it would take forever to write. Second, I just wanted to highlight a couple that passed the test, and that I liked enough/was familiar enough with to really write about. (And okay, maybe I did lean towards shows that I’ve done and/or shows that Aaron Tveit once did so I could include pics from my shows and Aaron Tveit gifs. So sue me), There are a lot more out there, feel free to add some in the comments section! Also the shows listed are in alphabetical order, so it’s all fair. Third, I’m aware that what constitutes as a “conversation not about a man” is a bit subjective. This is according to my interpretation. Disagree if you will, but you can’t say I never made a disclaimer.
Aida
Photo courtesy of Wikipedia
Year it premiered on Broadway: 2001
Creative team: Elton John (music), Tim Rice (lyrics), Linda Woolverton, Robert Falls, and David Henry Hwang (book)
Synopsis: Based on the Verdi opera, tells the story of forbidden love between feuding countries, and ends with a lot of death.
Photo courtesy of Disney theatrical liscensing
Bechdel requirements: At least two named female characters:
Photo courtesy of Playbill.com
(Deborah Cox)
Aida: Headstrong princess of Nubia, kidnapped by Egyptian guards who remain unaware she is the princess until the end of the show. Falls in love with Radames, captain of the guard, creating an Egyptian Romeo and Juliet. Very well developed character. Makes a lot of fatal mistakes but ultimately has good intentions and good morals and does her best to be a good leader to her people.
Photo courtesy of Idina-Here.cm
(Idina Menzel)
Amneris: Essentially the show’s narrator. The princess of Egypt, she starts the show as a seemingly shallow, appearance obsessed little brat. As the show progresses, her eyes awaken to the harsh realities of the war being waged with Nubia, and her father’s illness forces her to face the reality of marrying her fiancé Radames and becoming queen. (Yeah, that’s the same guy Aida’s in love with…..TRIANGLE!) Both women are excellent, well written characters that I consider positive female representation in musicals.
Conversation not about a man: Aida and Amneris’s relationship is not the focal point of the show by a long shot. However, they do get a charming moment together in the middle of act one. They both talk about the pressures and strains of being a princess and therefore a role model, though at this point Aida is held captive and having to pretend like she doesn’t actually know what she’s talking about when in reality she knows all too well.
“My Strongest Suit-Reprise”
Gypsy
Courtesy of Gypsythemusical.uk.com
Year it premiered on Broadway: 1959
Creative team: Jule Styne (music), Stephen Sondheim (lyrics), Arthur Laurents (book).
Synopsis: Based on the life of Gypsy Rose Lee, tells the story of Mama Rose and her relationship with her daughters, and how her obsession with getting them into show business affects them.
Courtesy of Gypsythemusical.com
(Ethel Merman and Company)
Bechdel requirements: At least two named female characters:
(Bernadette Peters)
“Mama” Rose Hovick: The story’s main character, abandoned by her own mother, has a multitude of husbands she’s left behind. Has two daughters who she’s trying to make Vaudeville stars. Overbearing, domineering, and one of the juiciest stage roles for a woman that exists.
(Natalie Wood)
Louise “Gypsy Rose Lee” Hovick: The eldest daughter, ignored very much growing up for the more talented and charismatic June. Content at the beginning to roll along with whatever her mother says. After accidently landing in burlesque, she discovers she’s actually quite good at it and makes a name for herself, finally standing up to Rose.
Photo courtesy of Playbill.com
(Leigh Ann Larkin)
“Dainty” June Hovick: The younger daughter. Very talented, blonde, your classic beautiful leading lady. Very resentful of Rose’s treatment of her, eventually elopes to escape her.
Other named female characters: Tessie Turra, Miss Mazzepa, Electra, Agnes/Amanda and the rest of the “Hollywood Blondes.
Conversation not about a man: Several. Probably my favorite is between June and Louise, wishing that Rose would marry and settle down via the song “If Momma Was Married”. Then there’s the famous fight between Louise and Rose towards the end of the show, where Louise finally states her case and defends her lifestyle to her mother.
“If Momma Was Married” from the 1962 movie of Gypsy
Hairspray
(Most of these photos are going to be from The Little Theatre of Jefferson City’s production of Hairspray from 2011. I was a techie for that. Photo credit to Jennifer Bish)
Year in premiered on Broadway: 2002
Creative Team: Marc Shaiman (Music and Lyrics), Scott Whitman (Lyrics), Thomas Meehan (Book), Mark O’Donnell (Book)
Synopsis: Based on the John Waters film, sixties teenager Tracy Turnblad becomes a local celebrity, gets the guy, and tackles important social issues too!
Bechdel requirements:
At least two named female characters:
(Brynn Shaw)
Tracy Turnblad: The story’s protagonist. Awesome female role model, stays true to herself, and while she does fall in love, doesn’t let wanting a man getting in the way of more important things, like helping combat segregation at the local TV station where she’s a star. Speaking of which, she makes it onto TV and becomes talk of the town despite being chubby and awkward. She has her dreams and achieves them, making her one heck of a woman!
(Brian Harper)
Edna Turnblad: Yes, Edna is played by a man, but she is still one awesome woman. Throughout the show she gains confidence in herself and gives herself permission to be the big, blonde, and beautiful woman she is. A lot of that comes from the encouragement of Tracy. There are a lot of negative mother/daughter relationships in musical theatre, so it’s nice to see a good one!
Photo courtesy of Broadwayworld.com
(Caissie Levy)
Penny Pingleton: Tracy’s shy, awkward friend, under the thumb of her neurotic mother. But she too finds her wings, partially through her forbidden romance with Seaweed, but I like to think that Penny comes to her own by her own will as well. She’s a lot of people’s favorite character, and with good reason.
(Regina Blanchard-Walker)
Motormouth Maybelle: I’ve always had a soft spot for Motormouth. Not only is she female, but she’s also black, which in the sixties in America meant a lot of obstacles in your path. Despite all that, she’s still on her own two feet as a TV personality and business woman. (And a killer sense of style as well). She helps Tracy and the rest of the gang stand up for what’s right, more than willing to give encouragement to the other women in her life. Her daughter Inez is pretty cool too, for having the same strong spirit and ethics as her mother. (Another positive mother/daughter relationship!)
(Kaitlin Niewoehner and Debra Walker)
Velma Von Tussle and Amber Von Tussle: I lumped them together because they essentially serve the same purpose: Tracy’s (and just about everybody else’s) roadblocks. They do everything in their power to exclude anyone they don’t deem fit (anyone who isn’t “thin”, “attractive”, or white). Granted, not the most positive portrayal of women out there, but their presence in the show is still important. The world is full of real life Ambers and Velmas, and I think it’s great to show people like Tracy and Edna overcome their abuses without stooping to their level. (Granted, Tracy did say Amber had “acne of the soul” but she had it coming).
Other named female characters: Inez, The council girls, Prudy Pingleton (Penny’s mom)
Conversation not about a man: This musical has a ton! Tracy talks to Penny and her mother about wanting to be on the Corny Collins show, Tracy convinces Edna to come out of the house and embrace the sixties, Tracy talks with Motormouth Maybelle about protesting the studio and fighting for what’s right. Yes, Tracy has conversations about men too, specifically Link Larkin….….
(Sorry, couldn’t resist the urge to use an image of young Aaron Tveit in Hairspray. That is how I first discovered him FYI…but that’s a different story.) …..where was I? Oh yes, Tracy. But she’s not by any means defined by her man. I’m barely scratching the surface here, but long story short, this show passes the Bechdel Test with flying colors!
“Mama, I’m a Big Girl Now”
Into the Woods
Courtesy of Amazon.com
Year it Premiered on Broadway: 1988
Creative team: Stephen Sondheim (music and lyrics), James Lapine (book)
Synopsis: Grimm’s fairy tales, specifically Cinderella, Rapunzel, Little Red Riding Hood, Jack and the Beanstalk, and others are all intertwined via a baker and his wife trying to unravel a curse left on them by a witch. Don’t let the cheerful synopsis fool you: by the end of Act Two there’s a body count almost as big as Sweeney Todd.
(I admit, this show has been on my brain a lot because I’m on crew for a production of it in my hometown-more on that later. But it does, indeed, pass the Bechdel Test, so read on!)
Bechdel requirements:
At least two named women: It’s a little tricky with Into the Woods, since a lot of the significant characters, both male and female, go by titles rather than names. (Baker’s Wife, Witch, etc.) It’s debatable whether or not that counts as a name, but there are still enough ladies with “actual names” for it to meet this Bechdel requirement. (But I’m going to talk about some of the ones identified by title too, because they’re still pretty dang important.)
Courtesy of Playbill.com
(Bernadette Peters)
The Witch: Yes, the big cheese of the show is a woman. She sends the baker and his wife out on the quest to bring her the objects that will make her beautiful again, which she lifts the curse for them in exchange. Honestly, if you want a good description of the witch just listen to what she says in “Last Midnight” and you’ll understand her character. Is she the best role model? Well, she’s borderline abusive to her surrogate daughter, and she tries to feed Jack to the giant, so maybe not. But she’s still a powerful and juicy female character.
(Joanna Gleason)
Baker’s Wife: Throughout the show she proves herself to be self-sufficient, resourceful, and brave time and time again. The baker would be the first person to admit that she truly wears the pants in the relationship, and in fact he does. It’s no wonder it’s one of the most highly coveted musical theatre roles for women. Of course, her morals aren’t always the best, she deceives Jack to get his cow and gets….um, well…..very friendly with Cinderella’s Prince, for which she definitely gets comeuppance. But to me, her flawed character makes her all that more textured and dynamic. It’s the stereotype for women in fairy tale women to be bland and without personality, and she more than definitely breaks that mold (Which I believe was part of the point of the show).
Photo courtesy of Playbill.com
(Kim Crosby)
Cinderella: Cinderella has been done so many times, but this Cinderella is my favorite, especially when played by the beautiful Kim Crosby (Who I freaking know….what is my life?!) or by Sarah Dent, who is playing her in the production I’m helping out with. But I think of all the ones I’ve seen, this interpretation of Cinderella is my favorite. She starts out slaving to her step mother and step sisters, trying to be the kind person her mother taught her to be. So she lacks a bit of a backbone, but she still has enough oomph to make it to the festival. As far as her involvement with the Prince, I think she sums it up best when she says “Wanting a ball is not wanting a prince!” I love that they portray her with the vulnerability of not knowing what she wants instead of just magically falling in love with the prince in one night. Eventually he finds her and at first it looks like all is well…until a giant visits the kingdom and her prince turns out to be a two timing jerk. But she doesn’t take either set back lying down. She ditches the prince and helps team up with the others to beat the giant, and then moves in with the Baker. (Is it really weird that I ship Cinderella and the Baker? Anyone else? Just me? Okay, moving on).
(Danielle Ferland)
Little Red: In my opinion, she’s one of the most dynamic characters of the story. She stars off as this naïve, slightly irritating little girl, but the events with the wolf and with the giant make her grow up a bit. She becomes a bit wiser to the world, but she’s not completely hardened to the world either. She’s able to maintain some of her sweetness, innocence, and sass despite it all. Throughout the show, most of her actions can be perceived as good, but without being phony about it. (Okay maybe stealing all the Baker’s sweets wasn’t very good, but hey, nobody’s perfect).
Photo courtesy of Playbill.com
(Barbara Byrne)
Jack’s Mother: This woman seriously doesn’t get enough love, so I’m gonna talk about her for a bit if I may. Single mom, doing everything she can to ensure her son’s and her survival. A bit hysterical and frantic, but to be fair I would be too if my kiddo was fighting giants and they ended up in my backyard. She’s a fierce mama bear who goes out defending her cub. Everything she does is for her boy, so way to go Jack’s mom.
Other named female characters: Rapunzel, Florinda, Lucinda, Snow White, Sleeping Beauty
Conversation not about a man: Cinderella has her song with the spirit of her mother asking to go to the festival, Rapunzel and the Witch talk about their relationship and her desire to leave the tower, and a few others are scattered throughout the show. I think my personal favorite is the conversation between Little Red and Cinderella leading into “No One Is Alone”. It’s actually one of my favorite moments in the show.
“No One Is Alone”
Legally Blonde
Courtesy of legallyblondethemusical.com
(Most of these photos will be from my production in 2011. Photo credit to Andrew Richmond)
Year it Premiered on Broadway: 2007
Creative Team: Lawrence O’Keefe and Nell Benjamin (Music and lyrics), Heather Hach (book).
Synopsis: Based on the MGM film, California sorority girl Elle Woods follows her man to Harvard University, and makes a remarkable journey of self-discovery.
Bechdel requirements:
At least two named female characters:
(Erica Ranay)
Elle Woods: The story’s pink protagonist. Even at the top of the show she’s sharp and badass, but she just hasn’t thought to apply it to things outside of sorority events and fashion yet. Warner breaking up with her leads her to go where no Delta Nu has gone before and tackle law school. With the help of some other awesome women, her dog Bruiser, and the charming Emmett, she proves everybody wrong and makes one great lawyer.
(Reagan Freeman)
Paulette: Elle’s hairdresser and companion. (And she’s my older sister’s musical spirit animal). She too is awesome and badass, but the poor gal just doesn’t see it in herself at the top of the show. But as the plot unfolds, she too finds her inner strength to get back her dog from her ex and lure in a new man with the bend and snap. Hilarious and relatable, Paulette is a great addition to the awesome women of this show.
(Margaret Graham, Caleb Forrest)
Vivienne Kensington: Starts out as Elle’s arch nemesis, the woman her man ditched her for. Vivienne at first sees Elle as an insignificant dumb blonde trying to steal her man, but is willing to admit she’s wrong when Elle proves otherwise. (Can we talk for a moment how awesome that is?) She too is a strong female character not defined by her relationship to another man, who knows her stuff and how to use it.
Other named female characters: Brooke Wyndam, Chutney Wyndam, Kate, Enid Hoops, Margot, Serena, Pilar
Conversation not about a man: Vivienne’s apology/pep talk to Elle, Elle getting Brooke’s alibi, the Delta Nu girls helping Elle into Harvard, especially Kate (who I played! Also Chutney).
“Legally Blonde Remix”
Mary Poppins
Photo courtesy of cameronmackintosh.com
(Photos are mostly from my production. Photo cred goes to Andrew Richmond)
Year it Premiered on Broadway: 2006
Creative Team: Robert B. Sherman and Richard M. Sherman (Music and lyrics), George Stiles (Additional music), Anthony Drewe (Additional lyrics), Julian Fellowes (Book).
Synopsis: Based on the stories of P.L. Travers and the Disney film, Mary Poppins is the magical nanny that brings a new way of life to the Banks household with a spoonful of sugar and a whole lot of fun.
This show has been on my mind a lot as well, because I just did it. I was in the ensemble, and got to wear a dress and hat. (Several people in the cast said I resembled Rose Dewitt-Bukkater in Titanic, which made me very happy).
Bechdel Requirements:
At least two named female characters.
(Tori Stepanek-yes, our Mary flew!)
Mary Poppins: The title character magical nanny extraordinaire herself! It’s kind of hard to talk about somebody who’s practically perfect. But she’s the last bow and is the source of all good things, and you’re lying if you say you don’t want her as her nanny.
(Kit Meyer)
Winnifred Banks: The other lady of the house. Unlike the movie she is not a suffragette, but a house wife trying to make her husband happy, but often at the cost of her own happiness. Mary Poppins helps the family work together and function as one unit, and Winnifred grows considerably as a result. She and George are able to finally communicate and function as equals.
(Andrea Baker)
Jane Banks: Along with her brother Michael, Mary helps the kiddos grow from little brats to lovely little children. Their relationships with their parents become healthier and stronger, and all is well.
Other named female characters: Mrs. Brill, Mrs. Corry, Miss Lark, The Bird Woman, Queen Victoria
Conversation about something other than a man: Mary gives her lessons to Jane and Michael about life. Mrs. Brill and Winnifred have conversations about running the house. Mary tells off Mrs. Andrews and chats with Mrs. Corry. Mary helps talk Mrs. Banks into going to help George out at the bank.
“Anything Can Happen If You Let It”
Next to Normal
Courtesy of theatre2.org
Year it Premiered on Broadway: 2009
Creative Team: Tom Kitt (Music), Brian Yorkey (Book and Lyrics)
Synopsis: Looks at Diana Goodman and life with mental illness, and how it affects her family. Bring tissues.
Photo courtesy of aarontveit,net
Bechdel Requirements:
At least two named female characters:
(Alice Ripley)
Diana Goodman: The mother of the family. Beautiful, intelligent, suffer of bi-polar depression. Hallucinates Aaron Tveit.
Thankfully she has an amazing, loving husband, Dan, who sticks with her through all of it. By the end of the show though, she realizes that she needs to fight her demons alone and leaves him. (Cue ugly sobs).
(Jennifer Damiano)
Natalie Goodman: Diana and Dan’s teenage daughter. Uber intelligent, gifted pianist, major perfectionist. Feels like she’s always in the shadow of her brother, who died before she was born….and whom her mother is hallucinating as a teenage boy. (Hey, if my brother was as perfect as Aaron Tveit, I would feel pretty insecure too).
She too finds an incredibly supportive loving man who supports her through thick and thin. (Seriously, can somebody send me a Dan or a Henry already? Or just Aaron Tveit?)
But even without Henry, she’s incredibly tough dealing with her mom’s struggles and her own personal demons.
Conversation not about a man:
Diana and Natalie talk past each other quite a bit in the show, but none of those conversations are about a man. Natalie almost tells her mom about Henry, but then chickens out. But in Act Two, Natalie takes her mother to the hospital and the two of them have a sit down, gut wrenching heart to heart. They say everything to each other they never could before, and resolve to strive for the best life they can make.
“Maybe/Next to Normal”
Pirate Queen
Courtesy of adamsplanet.blogspot.com
Year it Premiered on Broadway: 2007
Creative Team: Claude-Michel Schonberg (Music and book), Alain Boubil (lyrics and book), Richard Maltby Jr. (English lyric adaption and book), John Dempsey (English Lyric Adaption)
Synopsis: Based on true events, Pirate Queen tells the story of Grace O’Malley, the woman who becomes the first female chieftain of her sea faring Irish clan. With the help of her crew, her love interest, and Queen Elizabeth the I, she saves her clan and makes a name for herself in the history books.
Courtesy of fanpop.com
Bechdel Requirements:
At least two named female characters
Courtesy of Playbill.com
(Stephanie J. Block)
Grania “Grace” O’Malley: The chief protagonist, daughter of the O’Malley’s clan leader. She grew up on a ship, being trained in swords and sea faring. She takes over for her father in his declining health and leads the O’Malley’s despite her gender. (Her “I Want” song is one of the most fantastic feminist anthems in history, and it would be a shame to have a post on something as pro-woman as the Bechdel Test and not include this song-and this is a really beautiful version).
Anyway, she agrees to an arranged marriage with Donal O’Flaherty (JERK) to stop feuding between the two clans, but ultimately refuses to put up with his nonsense and leaves him to rule the clan on her own after her father’s death. (Although she does strike up handsome childhood friend turned beau named Tiernan. But clearly she does pretty well without a man too).
Photo courtesy of Playbill.com
(Linda Balgord)
Queen Elizabeth I: The other major female in the story, she too is a woman in charge. However, rather than embracing her womanhood like Grace, she does everything in her power to make herself seem like a man so that people will take her seriously as a ruler. She’s intrigued by the news of this female ship captain, but that doesn’t stop her from conquering Ireland and the clans within it, including Grace’s.
Conversation not about a man:
Towards the end of the show, Grace requests and audience with Queen Elizabeth to make amends between England and Ireland. Ultimately, Elizabeth agrees and they meet “not as chieftain, not as queen, woman to woman, face to face”. They come to an agreement, and Ireland is made free again.
“Woman to Woman”
Spring Awakening
Courtesy of springawakening.it
(Okay real quick before we get started can I just say how freaking excited I am for the revival!???!)
Year it Premiered on Broadway: 2006
Creative Team: Duncan Sheik (Music), Stephen Sater (Lyrics and book)
Synopsis: Based on the play by Frank Wendekind. 19th century Germany, small provincial town, teenagers discover their sexuality under repressed conditions. All accompanied by really awesome rock music.
Bechdel Requirements:
At least two named female characters:
(Elizabeth Judd)
Wendla Bergmann: The story’s primary female character. Young, curious, inquisitive of her body and the changes it’s going through. Unfortunately the adults in her life are unwilling to give her the answers she’s looking for, so she ends up finding out the hard way with disastrous results. But her ignorance by no means makes her stupid. She’s very astute with an enormous heart. It really is a tragedy she doesn’t make it past fourteen because I have a feeling she would have been one fantastic woman.
(Lauren Pritchard)
Ilse Neumann: My personal favorite character in the show. She’s introduced as the faraway friend of Wendla and her gang, who ran away to escape her abusive household and is now living in the artists’ colony with the Bohemians. She runs into Moritz right before he kills himself, having run away again from the life of prostitution she was living in Priopia. She begs for Moritz to come with her to relive their childhoods once again, but he declines, and she leaves, despondent. Melchior reaches out to her in the form of her letter, begging her to help reunite him with Wendla, not knowing that she has died. Ilse is pretty cool, and she’s standing on her own two feet despite everything she’s been through at such a young age. I was a swing for this show, and I played Ilse in a few rehearsals, which was an absolute dream come true for me.
Photo courtesy of Andrew Richmond
(My production-I’m way at the far right end)
Photo courtesy of Andrew Richmond
(Maggie Hunter and company)
Martha Bessel: Friends with Wendla. She goes through sexual abuse from her father, which she tells her friends about, but begs them not to tell anyone. She also has a crush on “that sad, soulful, sleepyhead Moritz Stiefel”. (I’m with you girl!)
Other named female characters: Thea, Anna, Fanny Gabor (Melchior’s mom), Fraulein Knuppledick (the headmistress), Fraulein Grossenbustenhalter (the piano teacher-and her name translates literally as “over the shoulder boulder holder which I find pretty hilarious)
Conversation not about a man: At the top of the show, Wendla begs her mother to give her the facts of life. Nowhere in that conversation does her mother mention how the man plays in that process, so I’d say that counts. Martha confesses to her friends about her abuse. That’s a bit iffy since she does bring up her father in that conversation, but I personally think that’s more about the abuse than anything else so I’m counting it. That leads into a duet between Martha and Ilse about their experiences in that area with “The Dark I Know Well”. Once again, men do come up, but it’s more about how they feel about what’s going on rather than about their abusers themselves. Towards the end of the show, Martha reads the rest of the girls (sans Wendla, because she’s died) the letter from Melchior. Melchior does come up obviously, but it’s more about how Wendla has died and he doesn’t know.
“The Dark I Know Well”
Wicked
Year it Premiered on Broadway: 2003
Creative Team: Stephen Schwartz (Music and lyrics), Winnie Holzman (Book).
Synopsis: Based on the novel by Gregory Maguire….which is based on The Wonderful Wizard of Oz….which pretty much makes Wicked a really successful fan fiction. (Take THAT Fifty Shades!)
Bechdel Requirements:
At least two named female characters:
Photo courtesy of Wicked in London
(Willemijn Verkaik)
Elphaba Thropp: I literally cannot say enough things about this about this character. She’s one of the best written, well developed, relatable and all around awesome musical theatre heroines of this century. There’s a reason every musical theatre girl wants to play her, and “Defying Gravity” is on the “Do Not Sing at Auditions” list. She wears her heart on her sleeve, stands up for what’s right even when it means personal loss, and is not afraid to be different. (Of course, being born with green skin she doesn’t have much of a choice, but she freaking rocks it). She refuses to let other people, men or women, decide her life for her, and ultimately remains true to who she is even when the world tells her she’s wicked. She does have a romantic interest, and it adds to the plot without being the plot, which is refreshing. Gold star for you Elphaba Throp, you’ve earned it.
Photo courtesy of broadway.org
(Alli Mauzey)
G(a)linda Upland: It’s easy for Glinda to be hidden in Elphaba’s shadow, but she’s a fantastic character as well when played correctly. I’ve seen Glinda done too serious, and I’ve seen her done too light and fluffy too. She IS a funny and beautiful woman, but by the end of the show she’s also a changed woman with regrets and pain in her heart, but she’s still there and still trying to do what she knows best to do. One of the things I love about Wicked is that Glinda and Elphaba both grow through their friendship and experiences together, which is not something that’s the focal point in many shows. I think Ginda is best summed up during the song “Thank Goodness”. She’s singing “I couldn’t be happier”, because she thinks she should be happy. She has what she wants, but she’s learned that sometimes the things you think you want come with irreversible consequences. Ultimately she promises Elphaba to continue where she left off in trying to save the talking animals, because Oz, much like our world, is more likely to listen to the pretty blonde girl rather than the outcast.
Courtesy of newyork.com
(Carol Kane)
Madame Morrible: There’s a reason the fandom calls her “Morrible the Horrible.” First introduced as the mothering headmistress who sees the potential in Elphaba to become grand vizier to the Wizard. By the end of act one, we see her true colors and know that her plan was to exploit Elphaba’s powers so the Wizard would move her up in the world. She uses her new found power as press secretary to create the image of the “Wicked Witch of the West” by spreading vicious rumors about Elphaba. To me what’s even worse is when she users her supernatural skills to kill Nessarose in order to bring Elphaba down…which also brings Dorothy into the picture. She’s an example of a woman who is powerful, and abuses such power. Thankfully Glinda puts her booty in jail. (She had it coming…..she had it coming….)
Courtesy of Wicked on tour
(Liana Hunt)
Nessarose Thropp: It seems what whenever I see Wicked, (Which as of right now is six times, with at least one more time by the end of the year) I either love or hate Nessarose, and it all depends upon how she’s portrayed. But my favorite portrayals of her are the more vulnerable Nessarose. At the top of the show, it’s clear that she’s the favorite of the family despite being crippled. Between her disability and her father being so overprotective, I’d say she’s had a very sheltered life. In my mind, that would make the sudden shock of A. Elphaba becoming the Witch of the West B. Her father dying C. Suddenly becoming governor and D. Boq still refusing her advances all that much more overwhelming. I don’t think she’s purposely trying to hurt anyone, she just got dealt too much too soon and didn’t know what to do with it. She naively holds onto the delusion that Boq loves her, but is holding back because of her being in a wheelchair. (On a side note, I think Boq’s story is just as if not as sad. I think if he actually got to spend five minutes he would be disillusioned, but that’s all he has to hold onto while being held captive in the governor’s mansion, and ultimately it costs him dearly.) She gets even more power through Elphaba’s spell and the Grimmerie, but she almost kills Boq chasing after a hopeless dream. But the one thing I can’t forgive Nessarose for is for blaming Elphaba for Boq’s transformation and not admitting to her part of it. Elphaba keeps giving and giving and nobody ever thanks her for it. But for the most part, I think Nessarose is a tragic character who could have been a great ruler, but in the end made a few too many fatal mistakes. That being said, she still didn’t deserve to be killed just to reel in her sister.
Conversation not about a man:
This show is chock full of them thanks to having not one but two main female protagonists. The girls talk about their mutual hate for each other in “What is This Feeling”, Galinda’s room mates talk her into giving Elphaba the pointed black hat, Elphie and Glinda enjoy The Emerald City and Elphaba talks to Glinda about how accepted she finally feels, Madame Morrible gives Elphaba the Grimmerie and guides her how to use it, Glinda and Elphaba at first argue in “Defying Gravity” about how the other has screwed up, but then turn to each other, Elphaba begs Glinda to come with her but she ultimately refuses and they depart wishing each other the best….and that’s all in Act One! Cut to Act II, Nessarose and Elphaba argue about how Nessa feels abandoned, and Elphaba apologizes to her for not doing enough for her, Madame Morrible reveals to Glinda how Nessarose really dies and threatens her to go along with the “let’s kill Elphaba” propaganda….and then there’s “For Good” where the girls sing about their friendship (cue Deborah crying hysterically), and then finally Glinda taunts Madame Morrible as she’s locked in jail. In terms of conversations not about a man, this show is a feminist fantasy.
Wait….I almost finished the section about Wicked and I have yet to use an Aaron Tveit picture…shame on me…
Courtesy of aarontveit.net
Ah, that’s better.
“For Good”
Well, there you have it: ten musicals that pass the Bechdel Test! Just for kicks and grins, I’m going to mention another ten just to say that there are more out there:
Annie
Avenue Q
Beauty and the Beast
Fun Home
Heathers
In the Heights
Love Never Dies
Matilda
Rent
Violet
Like I said, this is by no means a comprehensive list, but it proves that there are indeed shows that pass the Bechdel Test. With that in mind, while doing my research for this post, I discovered a lot of shows that for whatever reason don’t pass the best, but they still have awesome female characters and/or positive representations of women. Could that be a future blog post?
Maybe….just maybe… in the mean time, peace out girl scouts. Stay classy.
memoirsofatheatrekid 