Riedel: PORGY AND BESS canceling Broadway run? — Page 2

"Many posters have commented here and elsewhere how she overpowers Norm Lewis during their duets, a situation that seemingly hasn't been corrected. Can't anyone rein [Audra] in? It seems that she's determined to willingly thrust herself forward at the cost of her co-players."

Aw, now that's not really fair to Audra. In the Dreamgirls concert, Norm absolutely "overpowers" her during most of their dialog and their duets (like in the whole "When I First Saw You" section). And that's what he was supposed to do, and he did it incredibly well.

It takes a village to mount a show, and there's probably a lot of reasons Audra may outshine Norm, from the direction to the material just sitting better in her voice right now.

But Sondheim never attacked the show (and he made a point to say that his letter was not about the show). It was about the attitude the creative team had in that Times article. It was arrogant, and he called them out on it (while also sending a warning to whoever will run his estate in the future).

---

> But Sondheim never attacked the show (and he made a point to say that his letter was not about the show).

He lied.

He attacked the creatives' attitude, but he attacked the show itself PLENTY.

---

My problem has always been I don't like McDonald. Oh, she can surely act, and has stage presence to spare, but her voice (that so many are in awe of), is like nails on a chalkboard to me. After about 30 seconds, I just want her to shut the hell up! ("Your Daddy's Son" is the only song I skip on the RAGTIME CD). So, if she's the entire show, then I have to pass.

"If I were the Houston Grand Opera, I would schedule a revival of their flawless production, which was directed by Jack O'Brien, for the earliest available moment, and ask Audra to lay the part."

That would be perfect. The Houston Grand Operas production was beautiful. I would love to see it revived. As for this production, considering everything, I had no plans on seeing it and won't be upset if it doesn't move to NYC.

Perhaps Stephen Sondheim is too close to Stephen Sondheim to understand that Stephen Sondheim is !! STEPHEN SONDHEIM !!.

I understand he's rather modest by nature.

---

I traveled up to Boston this week to catch P&B as well as a Yankee game at Fenway and I have to tell you, it would be a sin if this production doesn’t get to New York. I agree with Brantley that McDonald’s Bess is one for the ages but for him not to mention the incredible performances by Norm Lewis and Philip Boykin is outrageous. I found this to be a moving and powerful piece of theater with one of the greatest scores ever written. At Tuesday night’s performance the cast received three curtain calls.
And Joey, before you call this “pretentious theater” and blame Paulus, Parks, and the Gershwin estate perhaps you ought spend less time in front of the computer and see the show first.

Genuine question, since it's been brought up in this thread: Has Audra always overpowered her leading men? That was a huge disappointment with the OBC of "Ragtime" for me, and having seen it in L.A. prior (with Stokes and LaChanze) where that didn't happen at all, I wonder if it's an ongoing thing. I haven't seen her in any other shows paired romantically where balance and chemistry was an issue.

She is a brilliant talent, but is she "too big for the room?" That's a great quality in more isolated roles or non-romantic roles, but when it should be an equal playing field between two performers, can she rein it in? Or a better question: Are there any leading men up to her level? Stokes was no different than he was in L.A., but it just didn't work. And it hurt not only their story, but the show for me. Why should she lower the curve, though? Can anybody rise to her wattage?

Did she wipe up the floor with her Starbuck in 110 in the Shade? Any thoughts?

---

Genuine question, indeed, best 12,

It takes a huge presence and talent to go mano a mano with Audra, especially in a dramatic role.

But I've seen it happen, at least in concert.

Hugh Jackman was a wonderful Billy to Audra's Julie at Carnegie Hall. And although it was only a moment, and in a very restricted context, who can forget Nathan Gunn's Ben to Audra's Sally "Too Many Mornings" at the Sondheim tribute?

Short answer. There are men up to her level. But they are few and far between.

I felt Audra did wipe up the floor with Both leading men in 110.
They were weak to begin with, the workshop had stronger guys who were a better match for her, (one was Cervaris). But that show is kinda written that way, that's why there are TWO leading men. I thought she and Stokes were a fine match onstage in RAGTIME, but that is more his show than hers.
Also. many have praised Norm in this, so it's really just Ben's opinion, and he tends to sympathize with the female divas.

Her Starbuck, though talented, was certainly not up to her level. But her work with someone who was (John Cullum) was stunning. Crivello is also incredibly talented, but MARIE CHRISTINE made structural choices with which I didn't agree...which didn't show off anyone to their best advantage. Whe she did CAROUSEL with Jackman, it was electric (even though Jackman isn't necessarily the perfect fit vocally for Bigelow).

She certainly doesn't play 'too big for the room'. She invests her characters with a fuller emotional life than most actors dare to attempt (and most musical theatre actors simply cannot do). It's why she has four Tonys in six noms, and two Emmy noms for intimate, claustrophobic pieces. Even if she never sang a note, she'd be on of the best actresses around. The fact that she's (in my opinion) the greatest voice Broadway has offered in a generation makes her perhaps the most important talent working today. And it would be a great disservice to New York theatre if Porgy and Bess didn't come in...even if it's not the perfect production.

People are now saying that some of Mr. Sondheim's concerns were premature. Perhaps, instead, they were heeded.

---

Blaming Sondheim is silly. I idolize the man, but I don't check in with him before buying theater tickets.

----

I believe Gypsy9 refers to a previous kerfluffle when the Times reviewed the 1990 workshop of KISS OF THE SPIDER WOMAN in Purchase, NY. Hal Prince thought he could avoid the bad word of mouth that had plagued shows like MERRILY WE ROLL ALONG by developing the show upstate. Somehow, Frank Rich found the train station.

Prince folded his workshop without bringing the show in, but two years later Garth Drabinsky staged it in Toronto and KISS eventually opened in New York, winning the Tony Award for Best Musical. (Don't ask me why; slow year I assume)