If you’re reading this, the good news is that you’ve (so far) survived this madhouse that is 2020.
The bad news….Broadway is still shut down and…well, you know.
Courtesy of giphy.com
But fear not. If you’ve been around Memoirs of a Theatre Kid, then you know how my home theatre company, Capital City Productions, was able to reopen in May with our production of Bonnie and Clyde. So I decided (with some help from friend of the blog, Josh Lehto) to take a look at other theatre companies around the United States (and the rest of the world) that have reopened their doors for live shows, and how they’ve managed to safely do so.
I hope all of you are off to a great start this year. If not…well, consider January to be your trial month. In any case you’ve found my blog, so you’ve got that going for you.
I decided to jump back into the Theatrical Travels series. This time, we’re going to take a look at places within the United States that are directly tied to notable figures in the theatre world that are open to the public. Think childhood homes, birthplaces, and the like.
Most artists featured this will consist of playwrights and composers, but there may be a few surprises along the way.
Picture it: January 12, 2012. Jefferson City, Missouri.
It was a happy day in the life of Deb for numerous reasons. For one, it was opening day of one of my all-time favorite musicals and one of my favorite productions I’ve done to date: Man of La Mancha.It was also the very first show I would do with a group then known as Capital City Players, now called Capital City Productions at Shikles Auditorium in Jefferson City, MO.
(I’m the one in the donkey head. It was quite the time!)
If you’re here, I’m assuming you’ve read Part One and Part Two of a little segment on my blog I like to call “The Chaz Chronicles”, telling the story of my unexpected friendship with Chaz Wolcott of Newsies on Tour. (If you have not yet read them you may want to get cracking on that before you proceed).
First off, thank you for reading. But yes, there is more to tell, so let’s get this going!
Of all the things I’ve written on here that one has received the most positive responses thus far, which I am truly grateful for.
Especially this BEAUTIFUL message from Mr. Razzle Chazzle himself:
When last seen, I had just seen Chaz perform in Newsies in Cincinnati, and Disney Theatricals had just announced that Newsies on Tour would close in October of 2016. I thought that I would only see the show once more in Chicago, and I certainly had no idea what was going to happen as far as Chaz was concerned once that day came and went.
Hoooooo boy, buckle up, because I sure as heck would not be doing a follow up if there wasn’t more to tell.
2-4-6-0-1 of a Kind: A Revue of Les Miserables on Broadway
Hey friends! So first things first, happy new year! Okay I know it’s like, February now but it’s the first post of the year cause I’m kind of the worst so screw it we’re celebrating.
I hope 2016 will be a good year for you. My end of 2015/start of 2016….well, most of you who are reading this probably know that I was in New York City, aka the capital of the theatre world, where I proceeded to turn the city into my playground for a week. Seriously. If little me knew about a third of the things that happened on this trip, she would be speechless and crying. (Actually I suppose that could actually describe how adult me responded to the events of this trip.)
I ended up seeing a total of TEN shows in the city, and did a slew of other crazy things as well. Rather than try to cram it all in one, thousand page post, I’m dividing up my trip into several posts.
Said posts will be divided into two categories: revues/thoughts on the shows I saw, and other posts about the overall experience of theatre going in New York City as a general rule. I also have several posts in the works about seeing Newsies and Wicked this past year. I’m debating whether or not to sprinkle those in there, or post them later as a multi-part post after I see those shows again this year (cause I’m trash).
I’m going to begin with the first show I saw, the revival of Les Miserables that opened in 2014 at the Imperial Theatre.
We all know I love me some Les Mis-all incarnations. (Click here for my in depth post about said incarnations). I could not have thought of a better show to begin my trip with. Obviously Les Mis is a huge draw for me, but this production was particularly exciting.
For one, it was my first time seeing the show live since I did it in 2014. (Still my favorite show I’ve ever done). This revival actually opened between getting cast in said production and when I began rehearsal, so while I was finishing my first year of college, I lived vicariously through all the social media buzz surrounding it. Also, this revival happened at the same theatre where the original Broadway company of Les Mis opened, so that was pretty exciting. (Fun fact-my professor was Javert in Les Mis on Broadway for a while there).
I was particularly pumped for this cast. Alfie Boe, who played Valjean in the 25th Anniversary production was reprising his role.
(Photo courtesy of Broadway.com)
Jason Forbach, with a voice of an angel, and beloved by my fellow mizzie (Fancy word for Les Mis fan) Scooter was in the show as Feuilly, one of my favorite barricade boys. (And is from Kansas City-not too far from my neck of the woods!)
(Photo courtesy of BroadwayVegas.com)
But by far the two favorite actors I was most excited to see were Chris McCarrell and Gavin Lee. Chris had been with the show since it opened as Joly and the understudy for Marius, but when Andy Mientus left the company he became full-time Marius, and he’s essentially a human version of a kitten with really great hair. (Watch the following clip of him in for proof).
And Gavin Lee joined the company earlier that year as Thenardier. He received a Tony nomination a couple of years ago as Bert in Mary Poppins, a role he recreated on the national tour where I saw him back in 2009.
(Photo courtesy of Disney Theatricals)
I was so impressed with his performance, that a few months later when I adopted a cat, said cat was named after him. (Gavin Creel as well, who was a few block down in Book of Mormon. I think this may be the first time in a while (if ever) that both men Gavin the cat is named after were on Broadway at the same time).
This was a detail I mentioned in a letter I wrote to Gavin Lee earlier that year.
So I arrive at the theatre early, as I do, to pick up my ticket, and I see a note on the box office saying that Alfie Boe would not be performing that evening. I could write an entire blog post about understudies on Broadway, and I’m sure I will at some point in time, but here are a few bullet points.
I’ll be honest, I was a teensy bit disappointed about not seeing Alfie Boe as Jean Valjean. The guy’s awesome and I’m only human. But I chose not to be a crab about it. I’ve heard of people demanding refunds and whining about the “star” not being on. (I actually watched one guy whine about this very thing at the Les Mis box office. I seriously considered giving him a piece of my mind but ultimately decided against it because he was twice my size).
Understudies, standbys, and swings deserve all the respect in the world. They have to be ready to go on at a moment’s notice, and often have to know several roles/tracks perfectly. That in itself is a Herculean feat. But for the ones who go on for major stars, they have to give a good show knowing that the majority of the audience would rather be seeing someone that is not you. Performing is nerve-wracking and hard enough without that kind of pressure. Furthermore, having a different person brings about a different energy between the actors, and each portrayal is different, so getting to experience that is always a treat. Even more, lots of huge Broadway names started out as understudies-just imagine the bragging rights you’d have if when watching someone become a star, you can say you caught them in a rare understudy performance way back when. Aaron Tveit, Sutton Foster, Andrew Rannells, Lena Hall, Norbert Leo Butz, Krysta Rodriguez, Jeremy Jordan, Sierra Boggess, Jonathan Groff, and Heidi Blickenstaff, all of these cool guys and gals were understudies, swings, and the like before joining the ranks of Broadway royalty. Just saying.
Also on was Adam Monley as Javert, who I actually saw as Gaston in Beauty and the Beast over the summer at the Muny.
(Photo courtesy of Playbill.com)
So because I bought my ticket through tix4students.com (which is awesome and I will speak of more in a future post) I wasn’t allowed to pick up my ticket until half an hour until curtain, which at first made me sad that I wouldn’t have much chance to explore the theatre…until I got in and discovered there wasn’t much to explore. There’s the front lobby with the box office, a narrow hallway with stairs to get to the upper levels, and the door to the orchestra level. Most Broadway theatres are much smaller than you would think! It’s not like the Fox in Saint Louis where I see the bulk of my shows where there’s so much cool/beautiful interior to look at and wander in.This would be a pattern I’d see over the week. (There will be a blog post at some point highligting the differences between seeing a show on Broadway vs. a touring show). But I was there, I was seeing Les Mis, and life was good. (And I discovered the bar sold a drink called the “Les Fizz”, which is a Deb worthy pun if I ever heard one.)
And then the show starts. That iconic “da dum-BUM BAH DUH” (you know you just sang it in your head) takes us to Toulon with Jean Valjean and this it begins. The first thing that strikes me is how MASSIVE everything is. From the sets, to the songs, to the emotions, it doesn’t get any bigger Les Mis. I was shaking throughout the galley scene, and I spot Chris McCarrell almost right away. (All the principals except for Valjean and Javert also are in the ensemble at some point). The fog brimming over the prisoners and the guards beating down on anyone who catches their attention really curled my stomach, and I got a piece of all the awful things Valjean witnessed in nineteen years.
This undated theater image released by The Publicity Office shows a scene from the musical “Les Miserables.” The touring production will come to Broadway in March 2014. (AP Photo/The Publicity Office, Catherine Ashmore)
Valjean was understudied that night by J. Michael Finley, who is making his Broadway debut in this show. He was a force of nature, not just vocally, but physically. I feel like a lot of stage Valjeans rely too much on their voice, but he embodied the character with every possible aspect. (Ironically enough, normally Finley usually plays Champitheau, the fake Valjean). He may not be a superstar yet, but I say he’s headed in that direction. Literally my only quibble with him was that his voice cracked a bit once during the big “two four six oh OOOOOOOOOOOOOONE” note at the end, but everything else worked well.
(Photo courtesy of writerstheatre.com)
Adam Monley too was a force of nature, with all his power brewing under a seemingly calm outward physique, which is everything that character needs to be. He’s not my favorite Javert, but he still was quite good. At the end of the prison sequence, I see the actors step off stairs and into the house, and I think for a second they’re going to go through the audience, until I realize that there’s an extension of the stage with an exit that is built to look like a piece of the set that they exit through. I loved this scenic element, and thought it brought about a transformative quality to the production, as if you aren’t quite sure where fiction and reality stop and start.
Valjean takes us on his various hardships outside the prison, (I definitely spotted Chris McCarrell in the inn scene) until he meets the Bishop. This rendition was the first I’d ever seen to include Petit-Gervais, a minor character from the book. Though his bit in the Prologue was not 100% on par with how he’s written in the novel, it was still a neat little moment for someone like me.
All of this meets up to the Bishop of Digne. There was a moment there that really got to me, where the Bishop reaches out a hand, and Valjean flinches, ready for a blow. A lot of people in the fandom have given Valjean flack for stealing from the Bishop, but I wish said people could have seen it. To me, it exemplified how all those years of torture and abuse lead him to think he was beyond help or love, and that there was no good in people, to the extent that when he is at last shown kindness, the only thing he can think to do is steal.
But the Bishop forgives him and gives him the candlesticks, leaving a very dumbfounded Valjean to sing his way through an epiphany. Finley performed most of it on his knees, where he had been since the constables threw him down, too ashamed and overcome to move. You could see him wrestling with everything he thought he knew, until he at last resolves to change. I kept waiting for him to tear his paper while singing the last note as most do, but to my surprise he waited until he finished singing, then tore the note once in half as he tosses it over his shoulders to run offstage for his quick change…right as the logo appears across the scrim and the audience cheers.
Immediately the lights darken and we see the poor and destitute, in rags, hunched over, to the point where I couldn’t see their faces. I could go on forever about all that symbolizes. We transition to the factory, with the aforementioned Jason Forbach as the Foreman menacing Fantine, played by Montego Glover. I can’t say enough marvelous things about this woman. Vocally she sold everything, but didn’t fall into the common trap of playing Fantine too “prettily”. Her portrayal was gritty, heart wrenching, and desperate as she was penned in the novel. Her face especially sold everything, with the most expressive set of eyes I’ve ever seen.
(Photo courtesy of theatremania)
The other women really had it out for the poor girl! The factory woman after her really threw her to the floor before Valjean stepped in, and the others followed suit. Everything about this production exemplified the world these characters were living in, and this scene was no exception. Fantine is kicked out, sings a tragic “I Dreamed a Dream”, and off we go to the town’s red light district for “Lovely Ladies”.
(Yours truly as your friendly neighborhood lady of the evening. Photo courtesy of Andrew Richmond).
I was a whore in this part of Les Mis whenever I did it, so I always watch this part extra closely. This was probably the most, um, shall we say graphic staging of this song I’ve seen. No body parts were seen, but you saw enough to illustrate. Montego was among them as an utterly degraded woman who has lost her hair, her dignity, and thinks she could lose her child. I was watching her far more than the ensemble girls. By the end of the song we could also definitely see her tuberculosis starting to take over. I think to a certain extent, at least with the way Montego did it, that when Bantabois comes for her, she’s so incoherent that she doesn’t fully realize what she’s doing until it’s too late and Javert arrives. Thankfully, Valjean intervenes.
Michael and Montego were superb, but it was really Adam in this scene who stood out to me, watching how he responds to Valjean, and the utmost respect he gives him, even when trying to protest what he says. This carried through the cart crash sequence, (which by the way was kind of frightening). He truly was not going to continue his comparison of the “mayor” with “Jean Valjean” until Valjean insisted, and straight up bowed to him as he left. Then what Michael did with “Who Am I?” was incredibly acted and sung, minus one flubbed high note.
Then it was time for the first big cry of the show with Fantine’s death. I teared up a few times earlier, but now like this. You would have thought that she actually did think she saw her daughter and could reach out to her. The urgency with Michael was also incredible. As he came in, you could see that he truly was of the mentality of being on the run, determined to just say a few things to Fantine and be on his way, until he realizes that she’s moments away from death. That’s when he decides to take off his coat and come to her bedside for her last breaths. She dies with a last little bit of happiness, smiling because Cosette will be taken care of, which was all she wanted, to which Valjean is exquisitely gentle in laying down and folding down the arms of a long suffering woman finally at rest.
And then comes Javert, ready with chains to take in Valjean via “The Confrontation”. They added in a physical battle to this song, with Javert coming at him with chains to subdue him, which were lashing out through the air as the two men sang and moved their way around each other. It was truly remarkable. They experimented with it in the film, but this time it actually worked.
But Valjean wins, and not a moment too soon, because Cosette is in dire need of rescue from the Thenardiers, played by Gavin Lee and Rachel Izen. The two of them are my new favorites to have played those roles. Individually they were side-splitting funny and physically domineering, but together they brought the house down. The Thenardiers are so despicable, but with this portrayal it was so over-the-top and theatrical that it’s hysterical, which is exactly how the Thenardiers are best done in my mind. What was especially great for me was when Madame has to wake up Thenardier, and he’s at the top of the set buried under stuff until he’s awoken and sprints up.
(Photo courtesy of Theatremania)
Meanwhile, Valjean finds little Cosette, and you can see throughout the next scene or so how his world and its center changes, and now she’s the focus of it. The Thenardiers take his money and are funny doing so, but Valjean ultimately leaves with Cosette, and the two of them are blissfully happy, having a family again in each other.
Ten years pass, and we’re to my favorite parts of the show. The impoverished are crawling through the street, crying out the windows, and scraping to survive. In the middle of all of it though is Gavroche, as played by Sam Reda the night I saw it. His Gavroche was very cocky and sassy, he’s a kid who knows just how cool he is and doesn’t have time to deal with anyone who doesn’t agree.
Observing this squalor is Marius and Enjolras, played by Chris McCarrell and Wallace Smith, respectively. I was completely underwhelmed by Wallace as Enjolras, which is disappointing since Enjolras is my favorite character. He just lacked that fire and passion that makes the character who he is. Chris however, is probably my new favorite Marius. Everything he did or sang was reminiscent of the Marius Pontmercy I pictured when I read the book, from his luscious hair to the way he carried himself.
(Photo courtesy of Broadway.com)
Thenardier and Madame rear their heads again to make trouble, this time with a gang and their now grown up daughter Eponine, played by Brennyn Lark. Her Eponine was alright, but nothing spectacular. With Chris, it sometimes felt like her attempts to flirt with him she was actually bullying him a little bit, by taking his book and refusing to return it to him for example. The two of them together worked very well and was similar to their relationship in the book, where they’re not necessarily best buddies.
(Photo courtesy of theatremania)
So it’s no wonder he falls for Cosette…after knocking into her and making his books go flying in the process. I’m still not a fan of the “fall in love in one meeting” motif, but Chris and Alex Finke who played Cosette made it work about as well as it can. But while she’s falling in love, her dad is having a nasty run in with Thenardier, where we see Gavin and Rachel snap into their viscous side, the part that doesn’t get laughs. But Eponine intervenes, and here Brennyn kicked butt, as the girl who knows her way around and serves as look-out for her parents’ criminal activity. Valjean and Cosette run for it, and Thenardier capitalizes on a chance to get them in trouble…and himself out of it.
Adam Monley as Javert ponders all of this, soliloquizing with a lovely rendition of “Stars”. Brennyn is bitter about Cosette, tries to get Marius to change the subject, pretending that it’s not a big deal, when she can tell Marius is dead set on finding her. I liked the way she delivered “’Ponine, she knows her way around”, as if she’s saying “that’s me, little miss reliable, but he still doesn’t really notice me”. I feel ya, girl.
Time for the barricade boys! This is the stuff that really gets the blood stirring in my veins. All the members of the Les Amis are full of mischief and revolution. This is where I feel like Wallace actually did well as the voice pushing everyone forward. The rest of the guys are being silly and drinking, especially Grantaire played by the soulful and charming Joseph Spieldenner. But it’s Enjolras who gets them to sit up and pay attention, that it’s not just about them anymore, that from there on out it’s about their cause. Marius of course is busy Pontmercying. Chris was so loveable and sweet here, trying to get Enjolras and the rest to take him seriously, to realize what he’s truly going through and how his life has changed. I mean, Chris is just this great big bundle of joy and sweetness, and was pretty much perfect in every way.
Gavroche announces Lamarque’s death, and the boys are ready to spring into action, in perhaps one of the most epic, take-to-the-streets way possible in “Do You Hear the People Sing?” Everyone onstage was excited, I was finally feeling the full impact of revolution. There was a great little moment at the end of the song when Eponine approaches Marius and non-verbally says “I found her”. Marius of course goes running off, because that’s what he does, and Eponine just follows him like “You idiot you don’t know the way wait for me”.
Back at Rue Plummet, things are a bit quieter. Alex Finke as Cosette is desperately trying to make sense of what is just happened, awakened in a new way. All these mysteries and questions prompt her to ask her surrogate father, for perhaps the thousandth time about hers and his past. Alex was an astonishing Cosette, curious and determined, and perhaps a bit trapped by her well-meaning but over protective father. She goes inside, which may be a tiny detail, but it was huge for me. It made the rest of the staging work really well.
(Photo courtesy of Broadway.com)
Marius arrives with Eponine in tow, and an odd thing happened. I was watching Marius instead of Eponine. Like, Chris was so convincing, I actually wanted him to find his lady love. He climbs over the gate and was so darn excited it killed me. He tosses a pebble to her window, which I know is super cheesy but Chris made it cute, and out Cosette comes. (Chris talks about Marius’s love for Cosette and this song in a really awesome way in the video below. Watching it before I saw the show made me love what he did with “A Heart Full of Love” even more).
Alex sees him and then bolts inside, and I could clearly see the look on Chris’s face where he thought “Oh crap, maybe this was a bad idea”, but to his surprise, she comes out the door, and introduces herself. Watching the two of them bounce off each other. I feel like the two of them played it off as an intellectual attraction and had legitimate chemistry together. It didn’t seem sappy or forced, it reminded me of that awesome moment (for me it’s just happened with friends, but I suppose it can happen romantically too) when you bump into somebody and everything they say makes you think “YES! Me too! Where have you been all my life?!” I feel like a monster saying this, but I honestly forgot about Eponine a little bit until she started singing again, and I felt a real twinge of sadness for her. I don’t know why, but the three of them together was super satisfying, as well as the inevitable kiss. I actually wanted those two together this time around.
All the love is interrupted by Thenardier and his gang ready to make an attack. And wow, they all legitimately manhandled and beat up on Eponine. I was actually frightened. See, this is what I loved about this production, it didn’t apologize or compromise, if something was happening, it was happening full out. What I also loved her that when Cosette came out to tell Valjean it was her who screamed, she’s still looking through the gate thinking about Marius, while Valjean has his little melt-down thinking it’s Javert again. It isn’t until dad tells her to start packing that the gravity of the situation hits her, and she is more confused that already.
Now for the big guns… “One Day freaking More”. (That’s what it’s called now sorry I don’t make the rules.) Every character has their passion, every person wants their desires to come true, but you know everyone can’t possibly win. But for now they’re hopeful and ready, and set to bring down the house. There’s nothing I can say about this song that hasn’t already been said, but it got me going as per usual and the whole cast absolutely nailed it to the wall.
So…intermission time! I decided to take advantage of being so close and headed towards the stage for a closer examination of the set. Up close, it was so incredibly detailed. Uneven cobblestone to walk on, the appearance of wear and tear on the various structures, it was like a living illustration.
Act II began, and it’s barricade time. Once again the energy in the air is palpable. McCarius (The name for Chris McCarrell as Marius) discovers Eponine dressed like a boy, and sends her back to Rue Plummet. She finds Jean Valjean, as he is bringing suitcases out to the front. It was a minor detail that I greatly appreciated. Some people have complained “OMG why are they still there” about that scene. What they don’t realize is that the barricade stuff is supposed to happen the day after, if not the day of, “One Day More”. It takes time to pack and get ready. I also loved that when Valjean referred to Eponine as a boy, she whipped off her hat and shook her hair loose, sassily. And thus, she sings “On My Own”. Brennyn had a very different take on this iconic, if not overdone song. She sang it as if she was almost laughing at herself for this silly fantasy, even though ultimately it was all she had. Not sure if I liked it or not, but it was definitely something I hadn’t seen done with it before, I’ll give her that.
Song’s over, and the barricade’s up and open for business. And it’s impressive looking, especially with those guys mounted on it. Javert returns with his made-up story until Gavroche intervenes. There was this spectacular moment when Gavroche called out “Liar!” and Javert just stood there, with this look on his face like “Oh man, I’m in trouble now”. He knows this kid doesn’t mess around, that there’s no way he is getting out of this.
No sooner is Javert tied up when Eponine climbs over the barricade, and isn’t shot until she actually makes it over, which I think is more realistic, and slightly closer to the book. She straggles over to McCarius, and her collapse into his arms was a stab to the gut. Brennyn was at her best in this song. Her interpretation rang the most true to the lyrics, as if she really wasn’t that upset or sad, that she just wanted it all to end because of her awful life, and that she truly had no complaints as long as she was in Marius’s arms. Chris was dynamite too, he kind of went into shock, not fully comprehending what was happening, just knowing that he had to be there for her, sincerely meaning it when he said she was going to pull through. When she finally breathed her last, the look on his face was a tragedy. It’s like he was finally in realization of the dire danger he and his friends were in, that they may all die too. This has the same effect as the rest of the barricade boys see her. As her body is carried away, Chris McCarrell still sits staggered, until Gavroche brings him her hat, which had fallen off. Needless to say both Chris and I were belligerent with tears.
Valjean arrives, ready to help, and the first battle begins. The best way I can describe these sequences are LOUD. Seriously. Like, I kept flinching as it if were me up there. Between the bangs of the guns and the special effects, it was pretty convincing, and terrifying. Valjean makes a deal with Enjolras to get the right to kill Javert, which Enjolras seemed surprisingly cool with. Now seems as good a time to mention that this Javert and Valjean really didn’t have that much onstage chemistry. Maybe it was because they were both understudies and never performed these roles together, but the two of them just did not seem like rivals to me, I wasn’t getting the decades of history these two had. For that reason, this scene did not impact me as much as usual. Normally it’s my favorite part with just those two.
Regardless, Javert is released, and nights falls to “Drink With Me”, kicked off eloquently by Jason Forbach as Feuilly. The song had a playfulness to it, especially when they sang about the pretty/witty girls, like true old friend drinking to old times. But there was still a seriously somber undertone that couldn’t be ignored. It seemed this song was the point where the Les Amis accepted their fate and chose to face it bravely…but not before taking a quick nap, giving Michael Finley a chance to sing “Bring Him Home”, and do so beautifully without Marius knowing this guy would save him.
Yes, Marius has a savior…but the rest of the crew isn’t so blessed. Enjolras dismisses the women and children. The fighting begins again, and ammunition is short. Marius volunteers a little too quickly to go and collect some from the other side…I suspect Cosette is to blame. Enj pick up on this and he and Valjean try to talk them out of it. This distracts everyone long enough for Gavroche to scramble up and do it himself. The boys, horrified, try to stop him, but it’s too late, and my stomach immediately began to clench as I anticipated what was next. Everyone is losing their minds, unable to see what he’s doing or if he’s okay. (No rotating barricade this time). He’s back in sight, and it looks like he’s going to make it…but the bullet hits him and down he goes, everyone’s heart and my tears along with him. Grantaire’s reaction especially made me weep. He was scream-crying at Gavroche’s death, cradling his body unable to tear himself away.
The captain of the guard mocks the remaining revolutionaries, but they don’t shrink away. They die facing their foes, one at a time. As usual it happened too fast for me to take in each individual death. Not going to lie, those effects were kind of anxiety inducing. Yes, I knew there were going to be gun shots and other effects, but this is the first time I ever saw it in a show where it actually got to me. I was greatly relieved when that part was over. Valjean literally drags Marius offstage into the sewer, to be followed by Javert. What really got to me was the clean-up crew coming and putting all the bodies, callously heaping them in a cart. I was a little mad that Enjolras’s dramatic flail backwards on the barricade (What I call “Enjolrasing…see below…..)
….was reduced to his body flopping backwards out of the body cart. That whole part was sad for me, thinking about the real barricade boys, and how that’s probably how their deaths were handled, and how we would never know about them were it not for Victor Hugo.
We descent to the sewers of Paris, effectively so due to the projections. (Which were incredible throughout the whole show. They were effective and enhanced the show without being obnoxious). Meanwhile, fog floods the lower level of the stage, giving the feel of a layer of murky water. And who should emerge from it but Thenardier, going through the bodies with “Dog Eats Dog”. I must confess that I never did care for that song. I know why it’s necessary to the plot, but overall I just think it beats the dead horse of Thenardier being a jerk.
But Gavin performed it well, and took McCarius’s ring, and off he goes in time for Valjean and Javert to bump into one another again. Javert releases him and has his crisis that leads to his suicide…which in turn leads to the coolest bit of stage magic in the show. The actors is suspended on wires so when he “jumps” off the bridge, the ledge he was standing on disappears, so he’s suspended in air, and the projections behind him transform into a river, so the actor flails in mid-air and actually looks like he’s drowning. It was so freaking cool, I forgot for a second the seriousness of the show. I had to take moment to remind myself that it was sad and that half the characters were now dead.
“Turning” happens, with the women in mourning lighting candles for the barricade boys, all except Marius, the sole survivor. As I mentioned, overall Chris as Marius was very boyish and sweet. For “Empty Chairs at Empty Tables”, he has grown up and is now a man from the trauma of the barricade and losing his friends. But at the same time, he seemed so small and vulnerable, all more or less alone on that huge, dark stage. Each guy appears to him as in most versions, with no Eponine. (Why don’t more versions include Eponine too? She was Marius’s friend who died too. My version did though so go us). By far the most chilling, spine-tingling moment was “My friends, my friends don’t ask me what your sacrifice was for.” To me, it’s that line that makes or breaks that song, and Chris reduced me to tears with it. What was also really beautiful was that each ghost picked up a candle on the floor and brought it to their face on “Phantom faces at the window”…to where only their face is lit and they truly are “phantom faces”. Chris picked up a candle too and held it up. I don’t know if that’s supposed to be symbolic or not, but for me it was like he was picking up where his friends left off, literally passing on the torch. (And that adds all kind of new meaning to “there is a flame that never dies”).
Marius and Cosette are reunited, Marius learns his new father-in-law did time in jail, and the lovers are married-and this time I was happy. (Seriously Alex and Chris are so CUTE together!) Thenardiers show up all gussied up and more hilariously deceitful than ever. When Thenardier got punched, he moaned on the floor and cried out before standing up and being all “Nah, I’m okay” and then motioning to the conductor to keep playing…right as all the stolen silver falls out of Madame’s dress. They dance, happy that they’ve actually making it out of the musical alive, and the rest of the wedding guests follow suit.
And now it’s time for the Epilogue…yeah I immediately started crying. Valjean is ready to leave his past behind and be welcomed by Fantine, but not before saying a final goodbye to Cosette and her husband. Their reaction to Valjean dying got my tears flowing even faster, and I got major feels watching her bury her face into Chris’s chest. Valjean joins Fantine, Eponine, and everyone else who died at the barricade. (Lots of people have complained that Eponine greeting him makes no sense. I always thought that was her way of thanking him for rescuing Marius. I like to think that in heaven Eponine finally found peace and gained some perspective. Ultimately, I think she just wanted Marius to be happy, even if it wasn’t with her, so she watches over the two of them. Maybe she and Enjolras get together in heaven, maybe Marius and Cosette name children after the two of them). I absolutely LOVED that the Bishop also greeted Valjean in heaven with a huge hug, similar to the 2012 film. I imagine he said something along the lines of “I’m proud of you, kid. You done good.” It was that moment, combined with the glorious acapella section from the ensemble that triggered the convulsing, heavy, audible sobs from me. The epilogue will always make me weep live. Always. (Also Cosette and Marius sang with everyone on the last chorus, which made me happy, that doesn’t happen in every production even though they’re just as much a part of the story as anyone else).
Curtain call was also epic and satisfying. Like, I feel like the order was perfect. (This is another one of my weird Deb-isms, I’ve very particular about curtain call order). It went female ensemble, male ensemble, three little girls (young Eponine, young Cosette, and their understudy who is in the ensemble), Gavroche, Enjolras, Thenardiers, Cosette and Marius, Eponine and Fantine, Javert, and of course Valjean. I’d also like to point out that up until this point there was no music…just as well because everyone in the theatre, myself included, was screaming and cheering at full volume. But then everyone ran off except Valjean…who took a solo bow…to be joined by everyone again with “Red and Black” swelling under them, where everyone took one last group bow and waved as the scrim came down.
(Photo courtesy of Playbill.com)
Show had concluded…which can only mean one thing…stage door time! Out I ran, with every possible emotion coursing through me. It wasn’t cold, which is remarkable for New York in December, but it was raining, so not many folks came out. There was Jason Forbach, whom I hugged. (He gives great hugs!) I also mentioned that my friend Scooter and I were huge fans, which he said was “sweet”.
Then came Joseph Spieldnner. I complemented him on his reaction to Gavroche’s death, and he signed a Playbill for my friend Michael who also played Grantaire.
Then came Alex Finke, who I didn’t recognize at first with her brunette hair! It told her she and Chris had awesome chemistry, which she attributed to him being “a great guy”. (Sadly Chris did not come to the stage door that night. Truth be told, I was more disappointed about that than I was about not seeing Alfie Boe perform.)
Then J Michael Finley came out, and I embarrassed myself a little bit. He and Adam look SO MUCH ALIKE that I accidentally mistook him for Adam. And he was all “No, I was on for Valjean, they wouldn’t let me go on for Cosette” which was funny.
Montego came outside next, I chatted with her for a bit, and was overwhelmed some more by her gorgeous eyes. Right after she came out, they shut down the barricades and said that no one else was still inside, and my heart sunk a little bit about not getting to meet Chris McCarrell.
It’s worth mentioning at this point that the Imperial is literally RIGHT NEXT TO the Richard Rodgers…which is currently the home of another smash hit musical…
YUP THAT’S THE ONE! I walked by it on my was to Les Mis, and peed my pants a little, not gonna lie. (I also had to crawl my way past the people doing the lotto on my way in, which was wackadoo zoo and a half….more on the Hamilton lotto later). I am COMPLETE Hamiltrash in case anybody was wondering.
*Side note-there’s actually a really cool crossover between the two shows, well, besides the following video where the Les Mis cast auditions for the show…
….as many of you know, parts of Les Mis, ala the barricade boys/June Rebellion (NOT THE FRENCH REVOLUTION GEEZ) is based on real events. Anyway, the real Lafayette (America’s Favorite Fighting Frenchman!) of Hamilton was at/spoke at the funeral of the real life General Lamarque of Les Mis…which just happened to be where the real life barricade boys started their revolution…so yeah, it’s entirely possible that Lafayette bumped into and/or interacted with and/or supported the real barricade boys!!
Anyhow, the thought of crashing that stage door had definitely crossed my mind more than once. All throughout talking to the Les Mis folk, I could hear screaming from the Hamilton stage door line as various folks came out. I thought to myself….am I really going to do this? Am I really gonna crash the stage door of a show I’ve never even seen? But then I saw Leslie Odom Jr./Aaron Burr standing RIGHT THERE….
…..and I said “YUP I’M DOING THIS!”
Which was not hard, since the, Hamilton line ended where the Les Mis stage door had begun! I said “Hello” to Leslie Odom Jr., but I was a little too overwhelmed to ask for a photo. Thing is, when you see a performer you’ve loved and looked up to forever in a show, you have a whole two hours to get over the whole nervous, crazy adrenaline energy of “OH MY GOSH THEY’RE STANDING IN FRONT OF ME!” I didn’t have that luxury with Hamilton, but I did alright for myself. So no photo with Leslie…but I DID have him sign the back of my Les Mis Playbill. So yeah, I definitely now own a Playbill where the cover is signed by the Les Mis folk and the back signed by the Hamilton folk. Surprisingly, they were all totally cool with it!
Somehow I managed to compose myself by the time Lin Manuel Miranda (WHAT?!) came up to me.
And can I just say, he is SO COOL in person?! Like, he was chatting with everyone and just being so gracious and awesome. I said “Hi, I’m a really big fan, but I couldn’t see the show, but would you mind signing my Les Mis Playbill?” And he was all “Sure!” I handed him over my Playbill backside up, but he said “Oh no, I’m signing the FRONT!” I just kind of nodded and thought “Okay yeah you’re Tony winner Lin Manuel Miranda you can do whatever you want!”
Also worth noting is that I was in line behind these cool people (college kids like me) who won the lotto, and I had a good time talking to them, and Lin said they were a “Great second row!”
After Lin came through, what would you know, but Gavin Lee came out after all! And I got to say hello to him, and I told him how happy I was to see him, and I think he was pleasantly surprised. He told me that usually he’s the last person out, so there’s usually nobody out at the door by the time he leaves. I also mentioned that my cat was named after him, to which he paused for a moment before saying “That sounds really familiar…did you write a letter to me?” He remember my letter! How cool is that?! He was so kind and we got a photo together.
In the background you’ll see Phillipa Soo/Eliza Schuyler-Hamilton of Hamilton. I saw her slip away out of the corner of my eye while talking to Gavin, so that was a little sad not getting to say hello to her, but oh well.
As I said it was, indeed raining. (Hence all the actors carrying umbrellas in the photos). As such I was desperately clutching my Playbill inside my jacket to keep it safe, and I was shivering a little bit. And who should come up with his umbrella….but Jonathan freaking Groff, whom I’ve only been in love with since I was fifteen. Somewhere, fifteen year old Deborah is crying her eyes out. I’ve always heard that he was just a wonderful ball of sweetness, but this exceeded everything. He noticed me shivering from the rain and he said “Oh sweetie, are you okay? Here, stand under my umbrella!” Well, you don’t have to tell me twice, so I huddled under Groffsauce’s umbrella while he signed my Playbill and I got a photo with him!
After he left was Daveed Diggs/Thomas Jefferson/Lafayette. He cracked up when I gave him my Les Mis Playbill and said “Oh sure, we love Les Mis too!”
The final person was Christopher Jackson/George Washington, who wished me luck in the lottery!
So yeah…that was my first night in New York City!
As fantastic as this show was, there was one component missing…not a component per say, but a person… Kyle Jean-Baptiste, whose death shook the Broadway community last August.
(Photo courtesy of Playbill.com)
He was a part of the Broadway company of Les Miserables as Courfeyrac, and the understudy for Jean Valjean. When he made his Valjean debut, he also made history as Broadway’s youngest Valjean, and Broadway’s first African American Valjean.
(Photo courtesy of Playbill.com)
It absolutely broke my mizzie heart when he passed in a tragic accident. Throughout the show, time and again my thoughts turned to him, and I couldn’t help but wish he was still up there with the rest of the cast. Broadway lost an incredible talent, and incredible human
I dare you to watch any of these videos without weeping. I realize this is a pretty somber way to end my post, but hear me out.
Kyle’s passing, and seeing Les Mis on Broadway reminded me once again just how precious each person we encounter in our day-to-day lives is, and reminded me just how blessed I am to have such incredible people, especially my theatre family. And some of that family that I treasure the most are the crazy talented, beautiful, passionate, dedicated, insane, and kind folks that I did Les Mis back in 2014. As far as theatre is concerned, that production is the best thing that ever happened to me. It renewed me as a performer and person, and had I not been blessed with the opportunity to do that show, I honestly don’t know if I would have grown into the person who was nuts and/or brave enough to go to New York City all by herself at twenty one with limited cash and a whole lot of dreams. But here we are, here I am, and although there is a chunk of my brain that’s convinced the whole NYC extravaganza never actually happened, a couple of thousand of photos would say otherwise! I’ll never be able to thank all of you enough for that.
*wipes eyes* Anyway, so glad I FINALLY put up some of my thoughts about my New York trip! (Only took me a month). But there WILL be more coming! And it’s also the continued support from my theatre family that keeps me working on this blog and on my ambition of becoming a theatre journalist. (It’s still crazy that somebody besides my mom actually reads this thing!) On that note, aside from revues, if there’s anything specific about my trip you’d like me to cover, let me know in the comments section and I’ll try to address it in a post!
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 