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It is a co-production with Milwaukee Rep. 

Best known member of the cast is the fabulous Karen Ziemba.

 

Press release below:

MUCH ANTICIPATED PRELUDE TO A KISS, THE MUSICAL MAKES WORLD PREMIERE AT SOUTH COAST REPERTORY APRIL 5-MAY 4 FEATURING STELLAR CAST AND CREATIVE TEAM

COSTA MESA, Calif. (February 27, 2024)—It is a musical eight years and countless hours in the making, returning one of the country’s most accomplished playwrights, Craig Lucas, back to one of his theatrical homes. And with Lucas’ return, South Coast Repertory (Artistic Director David Ivers and Managing Director Paula Tomei) presents the world premiere of Prelude to a Kiss, The Musical, lyrics by Sean Hartley and Daniel Messé, music by Messé, book by Lucas. Directed by Ivers, it runs April 5-May 4, 2024 on the Segerstrom Stage as the centerpiece to SCR’s 60th season.

Prelude to a Kiss, The Musical is produced in association with Milwaukee Repertory Theater, where it will appear in the 2024-25 season.

The original Prelude to a Kiss was a 1988 SCR world premiere play. It went to Broadway, where it received a Tony Award nomination and a Pulitzer Prize nomination, before moving to Hollywood and becoming a feature film starring Alec Baldwin and Meg Ryan. It returns to SCR as a musical that explores what happens when a mysterious guest requests a kiss at Peter and Rita’s wedding—and their lives are forever changed. Refreshed, reimagined and elevated by a breathtaking score, this modern fable soars through the peaks and valleys of love—the perfect salve for our disconnected times.

“I think audiences can expect a book and source material that is tried and true, really gorgeous, inspired writing,” said Ivers, who will direct. “I know it’s must-see theatre because the source material is so strong and because Craig, Sean and the brilliant Dan Messé have worked together to deliver a score that, to me, is one of the most inspiring, beautiful, heart-lifting, affirming scores that doesn’t shy away from some of the challenges of the world. …

“I think we have a really, really beautiful piece of theatre on the page.”

SCR commissioned Prelude to a Kiss, The Musical in 2016. Three years later, Ivers directed it as a featured reading at the theatre’s Pacific Playwrights Festival. When Ivers became SCR’s artistic director in 2018, he watched a video of one of the songs during the play’s early development phase. Afterward, he called his artistic team together and told them, “I’d like to bring this here.”

“That started the process. That’s how we arrived here, in a very bumpy way, in between and betwixt COVID and cancellations and postponements and workshops and cancelled workshops,” Ivers said, citing numerous impediments that pushed the premiere back to this year.

Lucas Returns Home

Prelude to a Kiss, The Musical brings Lucas’ work back to SCR for the first time in a decade. Prelude to a Kiss, The Musical will be Lucas’ seventh play at SCR, joining Reckless (1985), Blue Window (1985), Three Postcards (1987), Prelude to a Kiss (1988), Marry Me a Little (1988) and The Light in the Piazza (2014). Currently, Lucas is enjoying Broadway success with another musical adaptation—the well-received Days of Wine and Roses.

His other credits include God’s Heart (1997), The Singing Forest (2004), Prayer for My Enemy (2007), An American in Paris (2014), Amélie (2015) and Paradise Square, which earned a Tony nomination for Best Book of a Musical. An American in Paris earned a Tony nomination for Best Book.

“I’m overjoyed to be returning with the musical of Prelude to a Kiss to South Coast Repertory where the play first opened its eyes and looked around,” Lucas said.

Hartley’s musical theatre works include Cupid and Psyche, written with composer Jihwan Kim, produced off-Broadway in 2003. He received the Spirit Award for Best Book of a Musical for his work on Little Women, which went on to regional productions across the country. Hartley wrote the book, music and lyrics for Snow, which won the ASCAP Harold Arlen Award for Best New Musical.

Messé and Lucas have made theatre magic together before. Along with co-lyricist Nathan Tysen, they collaborated on the musical adaptation of the French film Amélie, which debuted on Broadway in 2017. Messé has written four musicals for TheatreWorks USA, collaborating with book author and lyricist Mindi Dickstein. As the founder and principal songwriter of the indie-folk band Hem, Messé scored the Public Theater’s summer Shakespeare in the Park production of Twelfth Night.

“Craig Lucas has been part of the trajectory of the theatre for a very long time and it’s important to me to have a few touchstone, legacy playwrights re-introduced and brought back to the theatre,” Ivers said. “We did that with Richard Greenberg and—earlier this year—Octavio Solis as well. This feels particularly great that Craig is working with us again during our 60th anniversary season.”

“It’s profoundly gratifying to have the story of Prelude to a Kiss come back home in its new adaptation as a musical,’ Tomei said. “As an SCR world-premiere play, it marked a significant advancement for South Coast Repertory and I can think of no better way to celebrate our 60th season than sharing this world-premiere musical with the Orange County community, which has supported our initiatives in new-play development for decades.”

SCR’s artistic director since 2018, Ivers’ previous SCR directing credits include One Man, Two Guvnors (2015) and She Loves Me (2020). He also helmed the 2021 Pacific Playwrights Festival reading of Coleman ’72 by Charlie Oh and the 2022 reading of A Million Tiny Pieces by Spenser Davis. Along with his SCR credits, Ivers has directed plays at many of the country’s leading regional theatres, including The Guthrie Theater, Oregon Shakespeare Festival, Berkeley Repertory Theatre, Arizona Theatre Company (where he served as artistic director) and Utah Shakespeare Festival (where he spent more than 20 years as an actor, director and artistic director).

The Cast

For Prelude to a Kiss, The Musical, SCR assembled a stellar cast of the best and brightest actors from Broadway and regional theatre—award winners and rising stars. The cast features Hannah Corneau (Rita), Jonathan Gillard Daly (Julius), Julie Garnyé (Leah), Bella Hicks (Ensemble), Jimmie “J.J.” Jeter (Taylor), Robert Knight (Ensemble), James Moye (Rita’s Dad), Caroline Pernick (Ensemble), Conor Ryan (Peter), Tristan J Shuler (Ensemble), DeAnne Stewart (Angie) and Tony Award-winning actress Karen Ziemba (Rita’s Mom). Rachel Lykins and Robert Zelaya are the understudies.

Corneau played Elphaba in Wicked on Broadway. Moye played Sam Phillips in the Broadway and off-Broadway productions of Million Dollar Quartet. He also directed the 2022 Outside SCR production of Million Dollar Quartet. Ryan appeared in Rodgers & Hammerstein’s Cinderella on Broadway and was featured in the national tour of Moulin Rouge. Ziemba is a four-time Tony nominee who received the award in 2000 for Contact. Daly spent 20 seasons as a resident company member and Associate Artist at Milwaukee Repertory Theater. He has performed his one-man tribute to poet Carl Sandburg all over the country.

The Creative Team

The design and creative team includes Wiley DeWeese (Girl from the North Country and The Lightning Thief: The Percy Jackson Musical on Broadway), music director; Nick Kassoy, assistant music director; Julia Rhoads (founding artistic director, Lucky Plush Productions), choreographer; Scott Davis (“The Gilded Age,” “The Penguin”), set design; Marcus Doshi (Linda Vista on Broadway) lighting design; Linda Cho (Tony Award winner for A Gentleman’s Guide to Love and Murder and Tony nomination for Anastasia) and Herin Kaputkin, costume design; Andrea Allmond, sound design; Yee Eun Nam, projection design and Greg Pliska, orchestrator. JZ Casting, Geoff Josselson, CSA and Katja Zarolinski, CSA handled casting with additional casting by Joanne DeNaut, CSA. Maisie Chan is the production manager, Talia Krispel is the production stage manager, and Kathryn Davies is the assistant stage manager.

Accompanying the actors is an eight-piece band led by DeWeese and Kassoy (alternating keyboards and conducting) and featuring Greg Huckins (woodwind lead—flute, clarinet, alto sax), Jay Mason (woodwind 2—clarinet, oboe, bass clarinet, tenor sax), Sorah Myung (violin/viola), Martha Lippi (cello), Justin Smith (guitar/keyboards), Tim Christensen (upright and electric bass) and Louis Allee (drums/percussion).

Prelude to a Kiss, The Musical received generous support from Honorary Producers Apriem Advisors, Sophie and Larry Cripe and John and Laura Drachman, Laurie and Steve Duncan, Michael Ray and Samuel and Tammy Tang.

Tickets range in price from $34 to $112, with additional discounts available for educators, seniors and theatregoers ages 25 and under. Tickets may be purchased online at www.scr.org or by phone at (714) 708-5555. More information is available at www.scr.org.

I saw the shows in previews. It's a mixed bag. The creative staging and the cast are all wonderful. Idina does not disappoint. The show's book is well written and moving. The music is monotonous and lacks melody but it is beautifully orchestrated. I can definitely see this show going off-Broadway. It has a small cast, a small band and easily replicated sets.

I hated it. The show is about an alcoholic drug-addicted journalist who played a very peripheral role in the events of the 1960's. To carry such a show, they should have cast a bigger than life Johnny Depp-type (Depp played Thompson in "Fear and Loathing in Las Vegas movie". Gabriel Ebert, a talented actor, is woefully miscast.

Like Iconis' score for "Be More Chill", the music is repetitive, the lyrics are pedestrian and misrhymed, and subtlety has left the building. 

 



 

Don[t be shocked if Pasadena's "Jelly's Last Jam" ends up a being re-cast version of the Encores production. They staged a re-cast version of the Encores/Broadway revival of SITPWG which was well received. 

There are lessons to be learned from the shows that are doing well regionally:

1) Audiences do not want to be preached to. They want to be entertained. 

2) Audiences want to see musicals and plays with stars.

3) If you're going to be charging top dollar for a musical, make sure that you have impressive sets and production values.

4) Regional theatres need to have less plays per season and less shows per week. The demand just isn't there anymore.

Review: A Lusty Camelot, With Shades of The West Wing, From Aaron Sorkin

The sets are getting flimsier because those sets are also meant to be used for tours. Producers don't want to spend money on multiple trucks for sets. The price of labor and gas for those trucks is a big chunk of the show's budget. 
 

Is the score good enough to match the book? Robert Horn is incredibly talented but his wonderful book for Tootsie was accompanied by a very middling score. I don't want to see another show when I'm coming out and humming the book.

Does anybody have any info on what The Ahmanson has in store for 2023-2024. Looks like all the major tours have been snapped by the for-profit Broadway in Hollywood with the exception of Funny Girl which is probably going to the Ahmanson. I'm wondering if the Ahmanson will get any London imports and if so, which ones?

Any leaked info?

You heard it here first- a theatre has already been booked on Broadway for a summer opening. 

 

 

It’s an enjoyable show and La Miranda rarely disappoints.

Cilento can fix everything by opening night. Will he, however?

The Pasadena Playhouse will be staging A Little Night Music with a full orchestra. 

https://www.pasadenaplayhouse.org/event/a-little-night-music/