© 1998 all rights reserved worldwide by Clair Sedore
National Library of Canada ISSN 1481-7934
(C) 1998,Clair Sedore, Editor
Peter Poullos, Assistant Editor
A New Monthly Theatre E-zine
No reprints without written permission from the publisher, although permission is granted to forward a copy to your friends and business associates.
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DEDICATED TO MY LIFE PARTNER, PETER MICHAEL POULLOS 1948-1999, WITHOUT WHOM
THIS PUBLICATION WOULD NOT HAVE COME ABOUT.
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IN THIS ISSUE
MEMORIES - MY YEARS OF THEATREGOING 1955-1999 - Part 4
GOODSPEED OPERA HOUSE
HOWARD LINDSAY AND RUSSELL CROUSE
THEONI V. ALDREDGE
BEAUTY QUEEN OF LEENANE
ART
MICHAEL TODD
ALFRED LUNT AND LYNN FONTANNE
JEROME KERN
AGNES DEMILLE
VINCENTE MINNELLI
JENUFA
*************
COMING IN DECEMBER
MY YEARS OF THEATREGOING - PART 5 - 1962
GOODMAN THEATRE
LILLIAN HELLMAN
BORIS ARONSON
ROGER L. STEVENS
HUME CRONYN AND JESSICA TANDY
MITCH LEIGH
JOE LAYTON
HAROLD PRINCE
CANDIDE
**************
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Is It Curtains for Broadway's Ragtime?; Producers Mull
Members of the Broadway company of Ragtime were told the week of Oct. 18
that the opulently-staged musical about the turn of the last century might
not be around at the dawn of the new century.
SFX Entertainment Inc., which acquired Ragtime when it bought Livent in
1999, is looking at various options for the expensive-to-run Tony
Award-winner, several company members confirmed.
Those options, outlined in a New York Times item Oct. 22, include shutting
down and scaling back the cast, scenic elements and crew at the Ford Center
for the Performing Arts (which would require a six-week hiatus, per Actors'
Equity); scaling back and moving to another theatre (as The Scarlet
Pimpernel has done), which would leave the Ford Center free for rental; or
closing the show for good, also leaving the theatre available for rental.
One company member said he was told by his boss the show will likely shut
down. SFX/Pace has not made an official statement about the future of the
show. The Times quoted Pace chairman Miles Wilkin saying that information
has been studied and a decision and announcement may come within the month.
The Music Man, Jane Eyre and Jesus Christ Superstar are among the homeless
incoming shows looking for shelter before the late April end of the
1999-2000 season.
Pace Theatrical Group, under the umbrella of SFX, scaled back the national
tour of Ragtime in 1999 by trimming cast and scenic elements. Regional
reviews have been favorable, suggesting the Tony Award-winning score can
survive a more human-scale mounting.
On the road, the show's once-elaborate moving bridges and walkways were
scrapped in favor of actor-driven scenes (J.P. Morgan plows down immigrants
on a railway cart, for example).
Observers say that Broadway will never again see the opulence of Ragtime,
which has an acting company of 59. More than 100 people are in service of
the show for every performance.
The week of Oct. 11-17 the production grossed $600,010 of a possible
$892,172. Weekly attendance has hovered around 85 percent for several
weeks, which is solid for a smaller show, but less desirable for a high
maintenance production like Ragtime.
"The cost of running the show is so high," said one insider. The Times
reported the show's running cost as $530,000 a week.
The now-deposed producer Garth Drabinsky, the Livent founder, believed in
attaching all the bells and whistles to his shows, and Ragtime is a prime
example of his showmanship: The show includes moving bridges and walkways,
rising and falling stage floors, a large cast, sets pieces that only appear
briefly in the three-hour performance, and more.
Drabinsky was accused of financial misconduct by those who succeeded him at
Livent.
Ragtime opened in the 1997-1998 Broadway season at Livent's Ford Center for
the Performing Arts. It won four Tony Awards -- for Terrence McNally's
book, Lynn Ahrens and Stephen Flaherty's score, Ahren's orchestrations and
Audra McDonald's Featured Actress performance.
In a heated competition, it lost Best Musical to The Lion King.
The show had a pre-Broadway tryout in Toronto in 1996-97. It will close in
New York January 16, 2000 with a total of 861 performances and 26 previews.
It won 4 Tony Awards - book, score, orchestrations and Audra McDonald best
featured actress.
********************
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THEATRE OBITUARIES
New York producer Irving Siders, 81, following a massive heart attack he
suffered four days earlier.
Mr. Siders' credits include tours and productions of Dancin', Dreamgirls
and other shows, including the recent national tour of Dreamgirls that was
aimed for -- but did not reach -- Broadway; George Forrest, 84, the
songwriter who, with Robert Wright, penned lyrics and wrote music for
Kismet, Grand Hotel, Song of Norway and other musicals, died in Florida
Oct. 10 after suffering a massive stroke. Oct. 8.
The writers -- would go on to give the world "Stranger in Paradise" and
"Baubles, Bangles and Beads" from their greatest hit, Kismet (1953) -- The
pair auditioned for M-G-M in the mid-1930s and earned a contract, writing
songs for "Maytime," for which they borrowed classical themes. Among their
more famous songs are "The Donkey Serenade," which features their lyrics
and a theme by Friml (which they adapted), and "Strange Music," inspired by
the music of Edvard Grieg.
They are best known for penning classically-tinged scores for Broadway's
Song of Norway (a Grieg biography based on Grieg themes, 1944), Kismet
(based on Borodin themes, 1953), Magdalena (written with Villa-Lobos, 1948)
and an African-American version of Kismet called Timbuktu! (1978); Maria
Ley Piscator, the teacher-director and widow of the revolutionary European
director, Erwin Piscator, died Oct. 14, at the Jewish Home and Hospital for
the aged in Manhattan, The New York Times reported.
The 101-year-old Ms. Piscator (nee Maria Czada) was born in Vienna and was
a dancer and choreographer in her early career. Erwin Piscator (1893-1966)
was her third husband. His theories and use of film, animation and lighting
in stage productions was influenced by the work of Max Reinhardt and he was
part of the "epic" theatre movement associated with Bertolt Brecht; Lee
Richardson, a featured actor Tony Award nominee for 1971's Vivat! Vivat
Regina!, died Oct. 2 in New York of a cardiac arrest.
The stage, film and TV actor was 73 and was one of the founding members of
the Guthrie Theatre in Minneapolis, and appeared in such plays as The
American Dream, Absent Friends and The Oldest Living Graduate; Film
composer, Frank DeVol, 88, whose scores have been heard in such films as
The Big Knife, Kiss Me Deadly, Pillow Talk, Whatever Happened to Baby Jane,
Hush Hush Sweet Charlotte, Send Me No Flowers, Cat Ballou, Guess Who's
Coming to Dinner, The Dirty Dozen, as well as numerous television shows;
Ian Bannen, 71, the Scottish actor who appeared in the recent film, "Waking
Ned Devine," and played roles with the Royal Shakespeare Company, died Nov.
3 in a car crash near Loch Ness, Scotland.
In the 1950s, Mr. Bannen acted on the London stage in Eugene O'Neill's The
Iceman Cometh and Long Day's Journey Into Night and in a 1983 revival of A
Moon for the Misbegotten.
Films roles include "Braveheart," "Hope and Glory," Gorky Park," "Gandhi"
and 1966's "The Flight of the Phoenix," for which he earned an Academy
Award nomination.
He made his stage debut in Armlet of Jade in Dublin in 1947; Judy Schoen, a
Los Angeles-based theatrical agent who represented Brian Dennehy, Lara
Flynn Boyle, Kyle Chandler and others, died Oct. 29 of lung cancer.
Ms. Schoen, 57, worked at a number of agencies before forming Judy Schoen &
Associates in 1988.
The Atlanta native is a former actress who performed at the Alliance
Theatre there. She appeared on Broadway in Red and White Maddox at the Cort
Theatre.
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CHARITY AUCTION OF PHANTOM OF THE OPERA PROPS
A fundraising campaign and auctions of props, costumes and memorabilia
related to the 10-year-old Toronto staging of The Phantom of the Opera,
which closed Oct. 31 after 4,226 performances, garnered $92,500 for
Canadian charity.
The "monkey music box," a prop famous in the opening scene of the Andrew
Lloyd Webber show (and culled from the Toronto staging), sold Oct. 31 for
an astonishing $28,000, according to Phantom Touring LLC, an SFX
Entertainment company, which produced the show.
In the musical, the monkey music box is sold at auction in 1905 for 30
francs. It is described thus in the script: "A papier-mache musical box, in
the shape of a barrel organ. Attached, the figure of a monkey in Persian
robes, playing the cymbals."
This was the first time any items from the production had been made
available for purchase. A Paul Stanley Signature PS2000 guitar emblazoned
with the The Phantom of the Opera logo and the "Phantom" mask with KISS
star insignia, created by Washburn International, sold for $13,500. The
one-of-a-kind guitar had a value of $5,000. Stanley's Phantom mask,
autographed and mounted in a frame, sold for $9,000. Stanley, of the rock
group KISS, was the last of many actors to play the title role at the
Pantages Theatre.
The money earned at auction goes to the Canadian Breast Cancer Foundation
and Canadian Actors' Equity Association/ Equity Fights AIDS.
Proceeds from a live auction raised $56,400 and two silent auctions
together raised an additional $20,130. The Phantom company also solicited
funds from the stage following each performance during the final week of
performances and raised another $16,000.
****************************
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THE BEAUTY QUEEN OF LEENANE
What a privilege for Toronto to get the second of the trilogy, "The Beauty
Queen of Leenane." Not just because of the play itself, but we also got
director Garry Hynes, who won the Tony Award for best direction in New York
(the first lady to have the privilege of winning this coveted award, the
second being Julie Taymor for The Lion King. Ms Hynes also was nominated
for directing The Lonesome West. We also got the set and costumes designed
by the same person, Francis O'Connor and the same lighting designer, Ben
Ormerod. We got stars of the calibre of Fiona Reid and Joan Orenstein,
along with Oliver Becker and Matthew Edison. And what ensemble players they
are. I do not want to tell you about the play, as it is definitely a "must
see." But you are not likely to see a better production.
The playwright, Martin McDonagh, is brilliant, young and tremendously
insiteful into the human psyche. He is a modern-day Tennessee Williams. The
suspense, the emotional upheaval, the words, all flow from his pen. And
having seen two of his plays, both very different, but both with underlying
tension and great humour. One leaves the theatre with great insight into
the Irish lifestyle. You never feel you want to live in county Galway, but
you get a great understanding of why the people want out, and America
sounds like the promised land. Seeing a play by Mr. McDonagh is like being
present for the opening night of "Who's Afraid of Virginia Woolf?" or "A
Streetcar Named Desire." You will never ever forget either of these plays.
Hopefully Toronto will get to see the third of the trilogy.
**********************
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ART
French playwright Yasmina Reza's "Art," translated by English playwright
Christopher Hampton, which has won many coveted awards including the
Moliere award for best author and best production, Evening Standard Award
for Best Comedy, Teatr Heute Award for Best Foreign Play, Drama Critics'
Circle Award , Fany Award, Tony Award for Best Play, ACE Award for Best
Dramatic Comedy, does not flow in spite of being performed without an
intermission. It does have its moments, however, and in particular, the
performance of Stephen Ouimette helps to save the evening. It is a good
play, with good interaction among the three players, Scott Hylands, Richard
Poe and Stephen Ouimette, but it does not soar off the stage. After seeing
The Beauty Queen of Leenane, which is in my estimation a great play, Art
could be performed in summer stock, or as a high school production, as
there is no great talent needed to bring it off. This production which was
mounted for the Manitoba Theatre Centre and the Royal Alexandra Theatre,
will perhaps, in time, get better as the direction by William Joseph
Barnes, is tightened up, but what I saw last evening, although quite
enjoyable, is not worthy of any of these awards. After the performance, we
were treated to David Mirvish discussing art. He is an eloquent speaker and
can keep an audience spellbound.
***************************
Theater Services Guide Theatre Services Guide
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individuals who provide services and products to the entertainment industry:
theater, movies, and television; and entertainment services to the general
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covering the US and Canada. For information on listing, visit the site or
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COMPOSERS AND LYRICISTS - JEROME KERN (1885-1945)
Born in New York, and moved to Newark where his mother gave him piano
lessons. He went to New York School of Music. His first work of importance
was "The Earl and the Girl." He was fascinated with London, and went back
and forth, adding melodies to "The Doll Girl," The Dairymaids," Fascinating
Flora," "Fluffy Ruffles," and "The Girl from Montmartre." He even married
an English girl, Eva Leale, in 1910.
In 1914 he added songs to a London import "The Girl from Utah," and one of
the songs from that show was "They Didn't Believe Me." After that he began
working with Guy Bolton and they came up with a big hit, "Very Good Eddie."
They then added P.G. Wodehouse to their team, and wrote "Oh Boy" (1917),
"Oh Lady! Lady!", "Have a Heart," and "Leave It to Jane."
Mr. Kern wrote "Sally," for Marilyn Miller (1920) and "Sunny" (1925).
In 1929 he collaborated with the great Oscar Hammerstein II on "Showboat,"
which was destined to become a classic of American theatre. They went on to
"Sweet Adeline" (1929), and "Music in the Air" (1932).
Mr. Kern did "Roberta," (1933), and then moved on to Hollywood. He returned
in 1939 to write the music for "Very Warm for May," and was collaborating
on what was to become "Annie Get Your Gun" when he died.
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MEMORIES - MY YEARS OF THEATREGOING 1955-1999 - Part 4
THE EARLY SIXTIES
In 1961 O'Keefe Centre brought in My Fair Lady with Michael Evans and Diane
Todd, Marlene Dietrich with her incredible trailing white fur coat, Johnny
Mathis with the Hermes Pan dancers, Flanders and Swann with "At the Drop of
a Hat," the Pulitzer prize winning Fiorello with Bob Carroll, Brendan
Behan's The Hostage, with Donald Moffat, Show Girl with Carol Channing and
Jules Munshin, Destry Rides Again with Gretchen Wyler, Andy Griffith,
Delores Gray and Stephen Douglass, with the great sets by Oliver Smith,
lighting by Jean Rosenthal and directed and choreographed by Michael Kidd,
The Andersonville Trial with Brian Aherne, Richard Rodgers and Oscar
Hammerstein's Flower Drum Song, with Juanita Hall, Jack Soo and Robert Ito,
and a great production of Gypsy with the legendary Ethel Merman belting out
those songs, featuring Joe Silver, Jack Klugman, Sandra Church, Michael
Parks, Peg Murray, Marilyn Cooper and Maria Karnilova. This was probably
the highlight of the year. Jean Anouilh's Becket, with Laurence Olivier and
Arthur Kennedy, as well as Marie Powers and Anthony Quinn, directed by
Peter Glenville and sets by Oliver Smith, costumes by Motley; a
pre-Broadway production of Kwamina with Brock Peters, Robert Guillaume,
Sally Ann Howes and Lillian Hayman, also costumed by Motley, and a iffy
plot centered on interracial feelings; another pre-Broadway show The Gay
Life with sets by Oliver Smith, music by Dietz and Schwartz, costumes by
Lucinda Ballard and starring the wonderful Barbara Cook (now of diva fame),
Jules Munsin, Walter Chiari and Elizabeth Allen; Bravo Giovanni, with
Cesare Siepi, George S. Irving, Michele Lee, Arnold Soboloff, Maria
Karnilova and Lainie Kazan; The Sound of Music with Florence Henderson.
Other productions during this period were Bye Bye Birdie, with Bill Haynes
and Joan Blondell; A Thurber Carnival with Imogene Coca, King Donovan, and
Arthur Treacher; Carnival with Susan Watson, Ed Ames and Jo Anne Worley,
Lena Horne in her Nine O'Clock Revue, the great Judy Garland, a jazz revue
called Impulse which featured Brendan Behan, but he was thrown in jail due
to a fight with a hotel detective. The show starred Nina Simone.
We also were treated to performances by Eartha Kitt, Tony Martin, An
Evening with Mike Nichols and Elaine May, and from London, the Royal Ballet
and the Mermaid's Treasure Island.
The casts of the touring shows were usually second-rate but if I missed a
show in New York, it usually ended up coming to Toronto. Sometimes there
were great surprises, Mary Martin was brilliant in Hello Dolly and Jose
Ferrer outdid Richard Kiley in Man of La Mancha.
In 1961 I got to New York only once, and saw Mary Mary by Jean Kerr, with
Barbara Bel Geddes, Edward Mulhare and Barry Nelson; A Far Country with
Steven Hill, the great Kim Stanley, Sam Wanamaker and Lili Darvas; a
powerful production of Jean Genet's The Blacks, with an unbelievable cast,
Roscoe Lee Brown, Vinie Burrows, James Earl Jones, Esther Rolle, Louis
Gossett Jr., Cicely Tyson and Godfrey M. Cambridge. This, along with A
Raisin in the Sun, established black theatre in New York. From these two
plays, blacks were to get more and better roles in the theatre, and a few
years later the wonderful Negro Ensemble Company was formed.
Other plays I saw were Arthur Schnitzler's La Ronde with Mindy Carson,
Alexandra Berlin and James Caan; Noel Coward's musical "Sail Away," with
the great Elaine Stritch and dancer Grover Dale; Harold Pinter's The
Caretaker, which brought Pinter to the forefront in America, with great
performances by Alan Bates, Robert Shaw and Donald Pleasance; the musical
"Milk and Honey," set in Israel, with Mimi Benzell, Robert Weede, Tommy
Rall and Molly Picon; How to Succeed in Business Without Really Trying," a
delightful musical starring the great Robert Morse in the role of his
career, Rudy Vallee, resurrected from oblivion, Virginia Martin, and
Charles Nelson Reilly; Robert Bolt's tedious A Man For All Seasons, which
won the New York Drama Critics Circle Award, with George Rose, Paul
Scofield and Keith Baxter.
*************************
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As of October 12/99 since starting my Theatres Pages, I have had the
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DESIGNERS - THEONI V. ALDREDGE (1932- )
Greek born costume designer who originally worked with the Goodman Theatre
in Chicago, and later worked with the New York Shakespeare Festival. She
designed the costumes for such shows as Sweet Bird of Youth (1959), Mary
Mary (1961), Who's Afraid of Virginia Woolf (1962), Any Wednesday (1964),
Cactus Flower (1965), Little Murders (1967), A Chorus Line (1975), Woman of
the Year (1981), and La Cage aux Folles (1983).
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DANCERS/CHOREOGRAPHER - AGNES DEMILLE (1905-1993)
New York born dancer who first performed on Broadway in Grand Street
Follies (1928) and the next year she created the choreography for The Black
Crook. She danced in London as well as New York and did dances for Hooray
for What (1937) and Swingin' the Dream (1939) and with her dances in
Oklahoma (1943) she became an established choreographer - more than any
other she popularized modern ballet styles in theatre. She subsequently
choreographed such productions as One Touch of Venus, Bloomer Girl,
Carousel, Brigadoon, Allegro, Gentlemen Prefer Blondes, Paint Your Wagon,
The Girl in Pink Tights, Goldilocks, Juno, Kwamina, 110 in the Shade, and
Come Summer (1969) which appeared pre-Broadway at the O'Keefe Centre. She
also did a lot of work for various ballet companies, which include the
great "Fall River Legend (1948).
*********************
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DIRECTORS - VINCENTE MINNELLI (1903-1986)
When Liza Minnelli does her act this fall at the Palace, it is a tribute to
her father, but will be predominantly his film musicals like "Meet Me in
St. Louis." He was originally one of Broadway's most imaginative artists,
before going to Hollywood where he became a major director of musical
films, his designs were seen in Earl Carroll Vanities (1932) and The Du
Barry (1932). He both designed and staged At Home Abroad, The Show is On,
Hooray for What!, and Very Warm for May. He also designed the Ziegfeld
Follies of 1936.
*******************
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PLAYWRIGHTS - HOWARD LINDSAY (1889-1968) AND RUSSELL CROUSE (1893-1966)
Howard Lindsay started off as an actor throughout the 1920s, and then
turned to playwrighting with She Loves Me Not (1933), then joined Russell
Crouse to rewrite Anything Goes (1934), followed by Red Hot and Blue,
Hooray for What, Life with Father - one of the longest running plays in New
York history, Strip for Action, State of the Union which won the Pulitzer
prize, Life With Mother, Call Me Madam (1950), Remains to be Seen, Prescott
Proposals, The Great Sebastians, Happy Hunting, Tall Story, The Sound of
Music and their final offering Irving Berlin's Mr. President.
************************
MICHAEL TODD (1907-1958)
Born in Minneapolis, he first gained recognition at the World's Fair in
Chicago (1933) - his first Broadway production was Call Me Ziggy (1937),
The Hot Mikado (1939), Star and Garter (1942), Something for the Boys
(1943), Mexican Hayride (1944), Up in Central Park (1945), As the Girls Go
(1948), and Michael Todd's Peep Show (1950). His fame came from marrying
Elizabeth Taylor and producing Around the World in 80 Days in the process
which was named after him TODD-AO.
ALFRED LUNT (1892-1980) AND LYNN FONTANNE (1887-1983)
I feel so fortunate to have seen the Lunts perform twice at the Royal
Alexander, in The Visit and The Great Sebastians, considering these were
their farewell performances.
Mr. Lunt was considered one of the greatest actors of his generation. Ms.
Fontanne was one of the great ladies of the American stage, with a throaty
contralto voice. She came to America from England in 1910, but did not
settle in the U.S. permanently until 1916. He studied to be an architect
but gave it up when the acting bug bit him in Boston at the Castle Square
Theatre stock company. He later toured with actress Lillie Langtry and
Margaret Anglin. He first appeared on Broadway in 1917 in Romance and
Arabella, but it was Clarence (1919) that brought him recognition. In 1922
he married Lynn Fontanne and rarely performed without her, throughout their
careers. Their great triumphs together were The Guardsman (1924) which was
also filmed, The Second Man (1927), The Doctor's Dilemma (1927), Elizabeth
the Queen (1930), Reunion in Vienna (1931), Design for Living (1933),
Idiot's Delight (1936), Amphitryon 38, The Seagull (1938), There Shall Be
No Night (1940), The Pirate (1942), O Mistress Mine (1946), I Know My Love
(1949), Quadrille (1954), The Great Sebastians (1956), and The Visit
(1958). Mr. Lunt possessed a very distinguished voice.
**********************
JENUFA
An opera in three acts, written by Janacek. It was first presented in
Prague in 1916 and played the Met in 1924. It is his most popular opera,
but is not performed often, even though the plot is most interesting. Laca,
jealous that Jenufa loves his half-brother Steva, disfigures her face with
a knife. She gives birth in secret to Steva's child, and when Steva refuses
to marry her, her foster mother secretly kills the child. Laca and Jenufa's
wedding celebrations are interrupted by the discovery of the child's body.
The crime is confessed and all is forgiven
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