Roundabout Revitalizes YANK!; Steggert, Santino et al. Lead Workshop in Feb.

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Sounds as though the writers have no problem with jettisoning some people who have been involved on the project for some time, including the original director. Of course they have every right to do so, but you kind of wish they wouldn't (if that's really the case).

In this case, the original director was clearly not bringing the material to the level it needed. Loyalty is great, but sometimes the person who has been around forever is not the right person to bring the job to completion. It's one of the worst things about working on new projects and a side that's very rarely talked about, certainly not in any of the books you read about what it's like to develop shows. I've been on both sides of this situation where something has moved on, and sometimes I've been with it, sometimes I haven't, and sometimes I've had to tell people I love and think the world of who gave their time and talent and energy to my project that they wouldn't be continuing with it.

The impression seems to be that these decisions are made lightly, or with some ugly motive about "trading up" once you start to have success. But in my experience it's totally the opposite - you try to hold onto people for as long as you can, often longer than you should, and the breakup is almost always painful on both sides. Often it's a practical reason. You have a limited number of ensemble tracks, for example, and the person who sang on every demo doesn't quite fit into any one of them once you take into account choreographic needs and doubles and covers and things like that.

I guarantee you that nobody on the "Yank" team feels good about the people they've left behind as the project moves forward. But the argument is if they were the right people, it would have happened by now. I saw the York production. I thought it really let down the piece. I have seen beautiful, fully realized shows in smaller, less technically adept places than the York. "Yank" didn't feel finished. The lighting should have painted those scenes instead of just illuminating them, the orchestrations should have transported you to the time period, the staging could have looked less like a cut-down version of a bigger production.

I even know and have worked with Igor Goldin, the former director and think he's a great guy and immensely talented and I hope he has at least one if not a dozen huge hits in his career. Under his stewardship, though, I don't think "Yank" would be one. I think Cromer is an exciting choice. I'm pleased to see this show getting one more shot, since I really think there's really something there that will translate to a bigger production though I can understand why those who saw the York might feel otherwise.

There's always an exception that proves the rule (re: Angels.) I agree. That was the right call in that case, and seriously, good for Kushner. I still think "Yank" wasn't in quite the right hands.

And I agree that a director shouldn't have to write a show or teach the writer how to write. But I do feel that some of the two-dimensionality you mention is attributable to the director and the production. The technical limitations shouldn't have mattered if the right choices had been made, but I'm not so sure they were. The much-discussed dream ballet, for example - my problem was that it seemed not dream-like in the slightest. It was just a dance number placed mostly down front, lit the same way as the rest of the show, with the same costumes we've seen, etc. I'm not sure the ballet itself was the problem or the way the ballet was incorporated into the piece. If it were truly a dream-like experience, it might have felt very different. Why was it done so clunkily? It could have been beautiful. The guys dancing it were certainly not the problem.

Perhaps when all is said and done "Yank" will end up still a two-dimensional show just with a slicker production and a bigger band. But I can't help think that the fabric of the show will be improved by the larger canvas and the production at the York didn't give me the confidence that the team they had was necessarily the best-qualified going forward.

Word has been floating around forever that Cromer wanted to replace everyone except Steggert. I'm glad they kept Jeffry Denman on as choreographer though.

I'm a huge fan of Nellie McKay, and think she would be an inspired choice.

Wow!
Cole Escola, nice break.
Is their a good role for him?
And will Santino be playing Steggert's BF?
Also is this cast larger than the last one?

Having seen this at the York, I do think that a new director and some new cast members are good choices. Would I have chosen Nellie McKay over Nancy Anderson? No. Anderson, Denman, and Steggert were the standouts. It's a shame she's gone. I think it's also a shame that Denman is choreographing but not performing. I'd say his performance was even better than Steggert's. But what makes me really nervous is the presence of Cole Escola on this list. That child is terminally unfunny, and he has a voice like nails on a chalkboard. I sort of hoped he would just give up showbiz. Or at least showbiz that I have any interest in. Excited about Jeff Hiller though. He was my favorite part of Bloody Bloody. Of course, this is just a workshop, so it's not like this is a final cast. Time will tell if they even get this back off the ground!

^Exactly.

David Cromer already directed a previous reading of the show early last fall, which Nancy Anderson didn't do either (although much of this cast Roundabout has assembled did.)

In that incarnation, Donna Lynne Champlin played all the female roles.

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hat child is terminally unfunny, and he has a voice like nails on a chalkboard.

Both of those statements are completely untrue.

Wow, Sauja. When did you become such a nasty piece of work?

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I wish Roundabout had taken on Scottsboro Boys and moved it to Studio 54, or something.

Curtain, I'm assuming Cole and Tyler are playing two guys from the typing pool (if the typing pool guys are still in the show)...the very thought of them bitching at each other makes me giggle.

I'm sorry Nancy isn't in it. She 'gets' period style better than just about anyone. Has McKay acted before? She's a fascinating choice.

I know very little about the changes, but from my understanding the show is VERY revised and much darker...Cromer wants the atmosphere to reflect the menace and danger of the war.

Cromer has a full, starry schedule this season, but YANK! is the show he is most excited by.

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Updated On: 2/4/11 at 11:05 AM

I find it interesting Roundabout it workshopping this. I know they workshopped SPRING AWAKENING, and they are producing PEOPLE IN THE PICTURE this season, but isn't their mission specifically for revivals?