Friday 5: 5 Pro-Shots We'd Love to See

With this week's announcement that the live-filmed production of Merrily We Roll Along will be released in theaters, we got to thinking about other productions we'd love to see a pro-shot of. I mean we know many shows are preserved for the Lincoln Center Archive, but I am thinking of similar treatment to shows that many of Sondheim's shows have gotten - Sunday in the Park with George, Sweeney Todd, Passion, Into the Woods. And here are 5 that made our list (alphabetically - we want them all!):

5 Broadway Pro-Shots We'd Love to See!

A Chorus Line - Original Broadway Cast: One of my all-time favorite shows, I'd love to see it when it was fresh, with the original company. Maybe the most meta performance in Broadway history, the people who the show is actually about, performing their own stories - the idea alone thrills me.

Follies - Original Broadway Cast: When I asked Mike what he would choose, I'm not sure he even had to think about it, he answered so fast! "It's because of the legendary cast and extremely expensive design that apparently had to be seen to be believed."

Grand Hotel: The Musical: Fittingly for a musical based on a film, Tommy Tune's non-stop staging was very cinematic. Not only was the staging grand, the characterizations were so beautifully specific. What could make a better movie? Big dances and thrilling close-ups - you'd think Tommy Tune was thinking just that when he put it all together.

Head Over Heels: I loved this show so much! It was fun from start to finish, and I left with a goofy grin on my face. Why wouldn't I want to relive that on demand? Plus, seeing the details of the costumes and scenery up close would be amazing.

The Mystery of Edwin Drood - All versions: I make no secret about the fact that I adore this show. So this pro-show would need to be a hybrid of all the varied productions to make this complete. It would star the original cast - Betty Buckley belting "The Writing on the Wall" at my whim? Howard McGillin at his suave, wicked best any time I want to see him? Sign. Me. Up. Plus, I'd want the songs reinstated for the Broadway revival - "An English Music Hall" for example, and "A Private Investigation" from London/Australia. Naturally, all of the endings would have to be included. How about "guest stars" like Donna Murphy as Dick Datchery? Karen Morrow and Chita Rivera could do the Puffer endings - you get the drift.

2024 - 2025 Broadway Musical Logos: Smash

It seems like a lifetime ago that I was obsessed with Smash on TV. The backstage lives of Broadway wannabes and icons alike was like a weekly drug. And that was just watching it to see who I recognized! Add to it the compelling story about getting a musical about Marilyn Monroe (and later a more modern musical) to the Great White Way, with a banging score and sexy choreography, and this theater lover was thrilled each week. 

Now, after years of hints, a concert and SRO staged readings, Smash is finally, inevitably, on Broadway. Focusing only on Bombshell, the Marilyn musical, the show is now in previews and is soon to open. I suspect that no matter what the advertising looks like, the TV show's fans will flock to the Imperial. But what about other potential ticket buyers?

2024 - 2025 Broadway Musical Logos:

Smash

The title work and font seem pretty obvious - giant marquee letters, bright red and glowing bulbs. All of them lit seems to imply that the show in question is an unqualified success...a smash. (I could have sworn an earlier iteration had some bulbs unlit and/or missing...)

The taglines cover a lot of ground in terms of content, while giving, possibly, some shade to the banality of Broadway taglines. The first, "The Bombshell Is About to Drop" is clever word play - "Bombshell" in a musical about Marilyn Monroe, the quintessential blonde bombshell; "about to drop", like a bomb being dropped set to explode; the theatrical meaning: a flop show. Perhaps most importantly, it's an in-joke/signal to fans that the show will be about everything but that other "show" within the TV show, Hit List. The second tagline, "A Comedy About a Musical" is certainly a play on that most usual of such things, "A Musical Comedy." It also lets audiences know that the intent here is fun, not drama.

The chief imagery used on the Playbill and window card is far more interesting and clever that the taglines it illustrates. The black and white image allows the title of the show stand out, cleverly perched atop the Imperial's 45th Street marquee/box office entrance. A closer look shows the bombshell tagline, and just below that, a cheeky play on the ubiquitous need to use pull quotes. I love that sense of meta humor. The rest of the busy image does a great deal of work. It's a red carpet opening with celebs and paparazzi all vying for our attention. One glance at it tells a passerby all they need to know: Marilyn has arrived in her iconic skirt blowing up pose while adoring fans look on and the photographers get their shot. But sharp-eyed fans will really see more, and it also tells the story of the show. Robyn Hurder in opening night gown glares at "Marilyn" who is taking her role and her spotlight. The principal cast, in character, also look on - Brooks, Krysta, Kristine (with fan blowing wind up her skirt), John, etc. And in a really fun, insider twist, the "paparazzi" includes actual theater writers, interviewers and influencers. (My invite must have gotten lost in the mail...)

All of this combined makes a doozy of a show logo. One of my favorites of the season, really. But if you follow any of the chat rooms and other social media, you know that so far, the show is not exactly coming across as a smash. So when I saw the show art below, I couldn't decide if they are cheekily acknowledging public opinion (it would match the tone of their other taglines) or if they are really tempting fate...

Grade: A

At This Performance: Diego Rodriguez in Sunset Boulevard

 At This Performance

of

Sunset Boulevard - The role of Joe Gillis will be played by 

Diego Rodriguez

This time seeing Sunset Boulevard we knew ahead of time that we'd be seeing an understudy in the role of Joe Gillis, usually played by Tom Francis. Having seen the announcement of social media that he would be on vacation, we weren't taken by surprise when we found this white slip of paper in our Playbill:

Ever since he announced that he would be on, I was excited to see Diego Rodriguez in the male lead of one of my favorite shows. He was a true stand out as Artie the first time I saw the revival. At the time, I wrote of his performance: "Artie Green (the dashing Diego Andres Rodriguez, who delivers by far the most interesting version of the otherwise forgettable character I've seen) is seen crying when he realizes the betrayal of his fiance and of his best friend." Could he be just as amazing as Artie's best friend?

Within seconds of his first entrance (spoiler alert: he emerges center stage from a body bag) I had my answer. Yes. Here was a new, vibrant take on a role that until I saw Mr. Francis I felt lacked much depth. In Mr. Rodriguez's more than capable hands, Joe Gillis maintained that depth, and also found new intriguing facets.

Immediately, it is clear that he reads much younger than Francis, which at first allows his Joe to be youthfully cocky and arrogant as only a 20-something can be. From his dealings with his studio friends to the way he outruns the re-po men, he is both reckless and blasè. And yet, he endears. This perfectly sets up a new dynamic between Joe, Norma (Nicole Scherzinger) and Max (David Thaxton).

 

This Joe is not intimidated, Norma smells fresh meat easy to bend to her will, and Max sees someone that will be the next in a long line of husbands. With this much younger take, both Norma and Max underestimate Joe's skill at manipulation. Of course, the story doesn't change - Joe still gets sucked into Norma's drama, Max still runs interference. But there seems to be slightly more sexual tension and a sharper sense of desperation all around.

As the power in these relationships shifts, Rodriguez's performance evolves in wonderful ways. Even the way he sings evolves, with a more mature sound as the boy matures. In act two, it is immediately obvious that his Joe has grown up with his bold take on the title number. Later, his duet with Betty (the lovely Grace Hodgett-Young) works in ways that it never has for me before - it still is a problem for me in terms of tone and style - but here we see a young man growing up enough to be worthy of a contemporary. In turn, all of this heightens the stakes for how it all fleshes out. 

Whether intentional or not, watching him during the Act Two overture sequence, we see Diego, relishing his time in the lead. Yes, he goes through all the same moments as Tom, but I got the sense that there is a bigger difference between each of them and their respective Joes, and so he endears in a nice way - his smile (the only time we get to see it) is the wattage of the entirety of Times Square. But watching him snap into character the second the music starts for "Sunset Boulevard." What an exciting thing to witness.

He's a University of Michigan grad with a
BFA in Musical Theater and an award-winning playwright 

During his post-curtain BCEFA speech, David Thaxton referred to Mr. Rodriguez as "Broadway's hottest young corpse." He was joking, of course, but he wasn't wrong. As this is his professional debut, one hopes that this is the start of a long, successful career. What an absolute thrill to have been here for the beginning of it all. 

Broadway Games: Divas in the News

Broadway Games:

Quiz: Divas in the News

These days the news comes fast and furious and Broadway is not immune! Recently, there have been several news reports involving our beloved divas. Have you been paying attention? Good luck on this quiz!

1. Betty Buckley was part of a recent Kennedy Center-related news item. Needless to say, she was not happy to be associated with it... Which Tony Award-winning Best Musical did NOT include Betty in its original cast?

A. Cats        B. Sunset Boulevard

C. The Mystery of Edwin Drood        D. 1776

2. The musical Aida celebrated the 25th anniversary of its Broadway opening this week. Which Broadway Diva won a Tony Award for her performance in that show?

A. Sherie Rene Scott        B. Michelle T. Williams

C. Mandy Gonzalez        D. Heather Headley 

3. Juliet Capulet...I mean Rachel Zegler was announced as the lead role in a West End revival of what show to be directed by Jamie Lloyd?

A. A Doll's House        B. West Side Story

C. Evita        D. Snow White

4. Sondheim's Old Friends began previews and announced an extension this week. The show boasts several Divas! Of them, all of the following are Tony Award winners EXCEPT:

A. Bernadette Peters        B. Lea Salonga

C. Kate Jennings Grant    D. Beth Leavel

5. Natalie Venetia Belcon opened to great reviews in Buena Vista Social Club. Years ago, she was part of the Original Broadway Cast of Avenue Q. What role did she originate?

A. Gary Coleman        B. Lucy the Slut

C. Kate Monster         D. A Bad Idea Bear

6. Nicole Scherzinger announced additional dates she'd be performing the role of Norma Desmond in Sunset Boulevard. Who is her regular alternate (aka "Guest Star")?

A. Caroline Bowman        B. Rashidra Scott

C. Grace Hodgett Young        D. Mandy Gonzalez

7. Wicked has a new headline-making Broadway Elphaba, Lencia Kebede. All of the following statements are true EXCEPT:

A. She is making her Broadway debut in the role.

B. She's the first Black actress to permanently play the role on Broadway.

C. She played Angelica Schuyler in the National Tour of Hamilton.

D. She is part of an entire principal cast that is making their Broadway debut.

8. Another Wicked cast member recently made headlines. Why?

A. The actor playing the Wizard of Oz, Brad Oscar, is actually a practicing wizard.

B. The actress playing Glinda (Allie Trimm) is terrified of heights, so all of her "bubble entrances" have been re-staged.

C. The actress who plays Madame Morrible, NaTasha Yvette Williams, was once actually a college professor.

D. Wheelchair-bound Nessarose is, for the first time, being played by an actress (Jenna Bainbridge) who really relies on a wheelchair for her mobility.

9. Emma Pittman produced and directed a miscast concert to benefit BCEFA that featured her cast mates from The Outsiders. What role does she play in that show?

A. Marcia        B. Cherry

C. Ace        D. Beverly

10. Soon-to-be Sally Bowles Eva Noblezada made the news recently when she became engaged to which of her co-stars?

A. Reeve Carney (Hadestown)      B. Orville Peck (Cabaret)

C. Alistair Brammer (Miss Saigon)        D. Jeremy Jordan (The Great Gatsby)

2024 - 2025 Broadway Musical Logos: Sondheim's Old Friends

It all started with a one night only concert in London, which turned into a West End run. And now it is a Broadway musical. Of course, given its subject - the songs of the late, great Stephen Sondheim - how could it not make it on the Main Stem? And add two iconic, Tony Award-winning actresses above the title, a 6th (!) Broadway revue seems a sure thing!

2024 - 2025 Broadway Musical Logos:

Sondheim's Old Friends

Yesterday, the show played its first preview, and announced a two week extension, so perhaps the logo and marketing is besides the point. But I have to say I like it for several reasons.

I love the font and style of the main title and tagline. Mounted on what looks like an electrical sign hanging above a stage (and also like the lighted signs above many theaters in the theater district), the letters are Broadway-show bizzy-neon style, topped by Sondheim's famous signature also in neon light style. Could it be more theatrical? The title, of course, refers to the song from his Merrily We Roll Along, while the tagline, "A Great Big Broadway Show" refers to a like from his Follies classic, "Broadway Baby." Could it be more Sondheim?

The full logo design encompasses all of the above against an elegant, almost royal blue background. A smiling, joking Stephen Sondheim in his prime appears among the heavenly theater light beams, as if he's a part of the show. He begrudgingly approves, hands up in surrender. "Ok, celebrate me!" he seems to signal. 

In terms of advertising, it is smart to include images of the stars of the show, which let's us know at once that indeed, Broadway's best "old friends" will elevate the whole thing. It also lets Broadway fans who may not blindly adore all things Sondheim, that the great Bernadette Peters will be on hand, as will Miss Saigon fan favorite Lea Salonga. I suspect that as the show runs, other stars will be featured including Tony-winner (and big fan favorite) Beth Leavel.

Part of a long legacy of Sondheim revues and tributes, this one looks to stand out and its logo surely supports that notion.

Grade: A+

Friday 5: 5 Divas of 44th Street

5 Divas of 44th Street

You'll find neon lights on Broadway. And meet those dancin' feet on 42nd Street. But this season, if you want to see divas doing what they do best, you need to get yourself to West 44th Street! All 5 theaters on that block - the St. James, the Hayes, the Shubert, the Broadhurst and the Majestic - are housing some of the year's biggest Leading Lady performances, and they are this week's Friday 5. There are so many great performances on the block, that each show also has diva-level supporting performances, too. We are betting that come Tony time, this street will be home to many nominations and trophies!

• Jasmine Amy Rogers as Betty Boop in Boop! The Musical

Word on the street is this young woman is making her Broadway debut into a star turn for the ages! The iconic character deserves that kind of treatment, and we are sure Betty herself would give her a hearty, "Boop-Oop-a-Doop!"

• Supporting Diva: Faith Prince as Valentina

• Audra McDonald as Rose in Gypsy

Nearly universal acclaim has greeted yet another Audra performance, and we couldn't agree more with all the praise. She's created maybe the quintessential Rose, and a 7th Tony Award for her shelf wouldn't surprise us at all!

• Supporting Divas: Jordan Tyson as June and Joy Woods as Louise

• Maleah Joi Moon as Ali in Hell's Kitchen

Speaking of Tony Awards, this young diva earned one for this very performance! She sure sings the hell out of these Alicia Keys classics. Unfortunately, she will be leaving the show at the end of this month.

• Supporting Diva: Tony-winner Kecia Lewis as Miss Liza Jane

• LaTanya Richardson Jackson as Claudine Jasper in Purpose

She's an amazing actress, so it really isn't a surprise that she'd be on a list like this one. But credit where credit is due - the critics loved her, praising her command of the stage as matriarch of a troubled family during this 3 hour play.

• Supporting Diva: Kara Young as Aziza Houston

• Nicole Scherzinger as Norma Desmond in Sunset Boulevard

Here is a breathtaking performance for the ages - larger than life. A diva playing a diva may be hard to beat during awards season. I can't wait to see her again!

• Guest Star Diva: Mandy Gonzalez as Norma Desmond

2024 - 2025 Broadway Musical Logos: Boop!

Through the years, Broadway has had its share of comics come to life as musical theater stars. There's been a musical Charlie Brown, a Superman, a Spider-Man. And there's been a SpongeBob show, a Lil' Abner, a Doonesbury, and of course, the most famous and successful of them all, a Little Orphan Annie. Now, Broadway is getting ready to welcome a new comic heroine, 1930s superstar, Betty Boop. Is her show art worthy of her stature?

2024 - 2025 Broadway Musical Logos:

Boop! The Musical

Let's start with the color scheme, often the first thing that draws the eye and begins engagement for potential ticket buyers. Boop! hits all the buttons with a bright white background - a literal blank slate - while simple black lines and bold red dominate the space making it impossible not to notice it all. On a deeper level, the color palette thematically mirrors both the character and the content of the show. Betty is known as a black and white movie star and technicolor icon in a red flapper dress. The musical Boop! tells the story of Betty, trapped in a black and white world and in search of the colorful world of her dreams.

The title is larger than life (just like the title character) and in a bold, fun, all-caps style. The font in red, with a thin white inlay, is a simple sans-serif style. Crooked and overlapping, the letters convey a silliness and that jaunty exclamation mark just adds to the excitement.

But for me, it's the primary image that really makes this logo truly excellent. At the center, we have Betty herself right in the center of the action, and it really tells the story. At the top we have traditional Betty Boop - simple flapper curls, earrings and bracelet - in black and white, winking at us and blowing a kiss with those bright red Clara Bow lips. At the bottom, we have "real life" Betty - hour glass figure, high heels and long legs, and impossibly high heels - in full, sparkly color. And the perfect detail to wrap it up nicely - her shadow in the shape of the iconic cartoon.

If I didn't already want to see this, this key art would make me want to buy a ticket!

Grade: A+