UPDATED! John Reviews 11 Broadway Shows - Mamma Mia and Spelling Bee Added!

[jczelyph]

Posted: 7/6/05 at 11:36pm

Herein lie reviews for Dirty Rotten Scoundrels, Sweet Charity, Fiddler On The Roof, Hairspray, La Cage Aux Folles, Rent, Brooklyn, All Shook Up, Altar Boyz, Mamma Mia and Spelling Bee. Read them all or skip to the ones you're interested in.

*****

Hello friends! Come in, sit down and let me tell you some tales - tales of theatre joy, and tales of theatre woe.


I've just moved to the city so am in major theatregoer mode. I've seen 10 shows in the past 2 weeks. I have written a bit about some of the stuff I have seen on other thread. Here is my collected praise and scorn. Not in any order.

Dirty Rotten Scoundrels
This show is hilarious. I do fear it may appeal to a dark inner Frat Boy side of me, a side I really don't want to explore. Every single one of the leads was perfectly cast. I am indebted to the show for introducing me to two fantastic actors I haven't encountered before - Gregory Jbara and Joanna Gleason. Jbara is sexy and rather swoonsome. Gleason is just hilarious with some of the most perfect comic timing I have seen on stage recently. I love me some Sherie Rene Scott in Aida (and L5Y) but this is the first time I have seen her on stage, and she was a true joy. She plays the ingenue with ease, and is perfectly able to moderate her character as the show progresses (if you've seen the show, you will know what I mean). Norbert Leo Butz and John Lithgow are a comic pair, to be sure. They quip off each other and have a synergistic effect on each other's stage presence. I advise seeing the show with the original cast, before any of the leads leave.

As for the material... I was certainly laughing a lot. A lot of the humour is rather base, but there is a smattering of cerebral humour. One thing that is important to note is that even though the humour is base, it's not bad. Having just seen Mamma Mia, Brooklyn and All Shook Up, I realise that writing good base humour is obviously a skill not everyone has. Jokes about shaved testicles and Puff Daddy made me chuckle more than, well....more than any of the instantly forgettable scripted humour in those jukebox shows. The music was fun, appropriate but not really too memorable. I can hum the tunes but I guess that's because I have been listening to the OBC. This show is a true musical comedy and really deserves big audiences. I think that this show might be a little edgy to be classed a 'family' show (at least for American sensibilities), but the night I was there, all of the tourists in the audience (as well as the cognoscenti) seemed very pleased with their experience, as was I.

The set design was simple and effective. Some features were rather beautiful, for example, the seaside backdrop. I heard a number of audience members comment on the set and how pretty it was.

Overall, the show is funny, diverting and dynamic. I wholeheartedly recommend it.

Sweet Charity
This much-maligned show truly delighted me. From Christina Applegate's sensitive but strong performance as the lead, to the modern reworking of some fun scenes ('The Rhythm Of Life' scene was particularly electrifying), the skilled ensemble ('Rich Man's Frug' - kinda made me horny - hot peacock boys etc....) and the hilarity of the direction (the closet and the elevator scenes had me, and the rest of the audience, in stitches).

Applegate was a gem. True, her dance was a little tempered and her voice never really soared but her portrayal of Charity was superb. She combined humor, vulnerability and sheer ferocity of character into the package of Charity Hope Valentine. She was matched in talent with Denis O'Hare who stole the show with his elevator histrionics.

I'm not sure how much of the music was changed for this revival compared to the original production but I truly love this score (and the cast recording is on my high play list). Somehow I feel that every song has a verve that I really didn't expect older musical theatre to be able to provide me with. I was exhilarated beyond being pleasantly surprised. I honestly cannot think of one low point in the show. I personally thank this show for giving me the courage to explore more 'classic' musical theatre (although it has much to answer for in this regard, as you will soon discover...)

At risk of sounding like a shill, I LOVED this show. It is one of the best shows I have seen in a long time. Go see it, especially if you think it's not your type of show, because, just maybe, you'll really love it. I'm one of those people who likes Rent, Hairspray and Wicked but this is now a total competitor for me.

Fiddler On The Roof
Bolstered by my exuberant experience with older theatre staples (Sweet Charity), I venture into the Minskoff. I wish i hadn't. This is the WORST show I have ever seen (worse than Love Shack or Tommy). I loathed every second of the show. I could feel spite bubbling inside me as I was bored to tears by the antics of the entirely unlovable characters onstage.

By far the worst aspect of the show was Tony-award winner Harvey Feirstein. If that's how good you have to be to get a Tony, I don't want one. He was abysmal. I don't know how I expected his rasping voice to have meatmorphosed into something like a songbird but I think his casting in this part represents the first example of Broadway resorting to stunt casting someone from its own world. This isn't a Mel B in Rent situation. She came from outside of the muscial theatre world and was awful. Mr Fierstein is theatre legend and is awful. He cannot sing. Simple as that. He massacred his songs. He turned Tevye into some Edna-like heavy breather. His camp turn as the Jewish patriarch was even more out of place in this production which I felt was absolutely devoid of warmth or humour.

The show is about family (at least in part...other meanings might be lost to me, maybe because the show was so dire it didn't manage to convey much beyond how slow time can pass) but this family was filled with loathsome girls, so similar and absent of character I cared more about watching the 'roof' swaying back and forth. These girls were like cloned rejects from Little Women, albeit with any enthusiasm removed. This might be in part due to the lame book and even lamer score, or could be due to poor performers. I was excited about seeing 'Tradition' and 'Miracle of Miracles'. The former was so guttural I felt like i was in a convalescent home for gay, aging lung cancer patients. The latter so brief and under-miked, I turned a page of my playbill and missed the entire song.

How this show has managed to run so long is beyond me. I can only see this show appealing to Jewish Elderly People's Daycare centres. I gather this show isn't popular in the UK. I'm so pleased. I hopefully will not have to be subject to its relentless tyranny of mediocrity anytime soon. I can't go on with this review. it's too painful.

Do yourself a favour, see anything other than this.

Hairspray
Oh, what blessed relief. I'm practically orgasmic to reconsider this show, after dredging up my repressed horror at FOTR (for his name shall not be spoken again). I must be the last person in the world to see Hairspray, especially now it has opened in the last bastion of the heathen world, Finland. Oh wait..it still hasn't got to England? Let's gloss over that.

Well, I'm sure this isn't news to anyone, but show is delightful. Still. 29 years on. I was super-lucky to see Marisa Jaret Winokur. She was a lovely little fat ball of spunk. Her Nasal-O-Matic style of singing was fun, and served as a healthy confirmation that i didn't own a badly copied version of the OBC, but that was in fact how she sings. Still, whatever she does with her sinuses, I loved it. Even if at the stage door she was wearing velour. I love how she couldn't quite keep up with the dancing. Just like what would happen in real life, if a little fat girl joined in with the Nicest Kids In Town. I thought it was funny (and a tad cruel).

Bruce Vilanch was hilarioso. This is maybe the only role I want to ever see Harvey Feirstein in, but Vilanch filled the heels with gusto. I didn't quite get the Britney Spears line (pregnancy wouldn't ever make you that fat, right?) but his relationship with Jim J. Bullock (who was on as Wilbur that night) was sparkling, and in 'Timeless To Me' their antics had me (and themselves - very unprofessional) in stitches.

Props to Chester Gregory II as Seaweed. Absolutely outstanding as a singer, dancer and actor. 'Run And Tell That' gave me theatre tingles. John's Tony goes to Tracy Miller as Penny Pingleton who gave what may the funniest performance I have ever seen on stage. I loved how she attempted to get a little belty/riffy/growling/raunchy after her transformation, and if she's been miked a little better, this would have been a mega-moment.

I will be going to see this again, I assume you've already seen it, and I suggest you reprise your visit too.

La Cage Aux Folles
Seeing as how so far I have either raved or raged about a show, you'll be pleased to know this show left me decidedly non-whelmed.

The production was high-quality, and it should have been impressive. Trouble is, it wasn't. It was very much not the sum of its parts.

Good Parts:
a) Gavin Creel. Kinda whiny, a bit goofy, and a lot wooden, but he's pretty and no part of me loves as much as the part that loves me some pretty.
b) Les Cagelles. What can I say that hasn't been said before? Amazing! Oh to be able to dance like these boys.
c) Michael Benjamin Washington. Hilarious. Scene-stealer extraordinaire. Managed to endear himself to me by simply throwing a set of luggage down some stairs.

Bad Parts:
a) The book. Maybe this stuff was relevant when the original production came out but is it now? I found it all bordering on offensive. A gaggle of straight tourists come to watch men dress up, and be mildly scandalised by homosexuals. And the high point finale of the show? A passionless, lip-only, super-brief man-on-man kiss. Wow! Big finale. I guess it's more a sad reflection of the majority of the country that this kinda thing still is still abnormal enough to be considered finale material (even if the show presents it with good intention).
b) Robert Goulet. I appreciate he is a theatre legend, but his booming, foghorn voice ruined much of the shows best material. He couldn't move appropriately for some of the more upbeat numbers and was generally not the magnetic presence I had hoped for.
c) Gary Beach. He was mediocre to be honest. Even though he grunted his way through 'I Am What I Am', he managed to rouse some emotion from me so I musn't grumble (especially when there are worse features to grumble about).

Sidenote: Beach, Creel and Goulet were ridiculously nice at the stage door, dealing with a mob of fans with grace and vigour. Compare to Eden Espinosa and Dan Fogler who seemed more interested in running away. Which of course they're perfectly entitled to do (you do only pay for a performance, not an autograph) but it is kinda sucky to be treated like that, especially when you are patronising their show.

I'm pleased I saw the show, even if it just to tick another show off my list. I know I'm not going to running to see the next revival.

Rent
This was my third time of seeing the show, and I knew everything that was coming and was mouthing every word along with the show, but the show still managed to thirll me to my core. I was still blubbing when Collins sang 'I'll Cover You (reprise)' and I was still feeling semi-ecstatic during 'La Vie Boheme' and 'Seasons of Love'.

I appreciate how unrealistic and sentimental the show but that's never stopped any other show, why this one? The show is sometimes portrayed as being incredibly true-to-life and uncompromising. Have you ever seen such a good-looking bunch of homeless heroin addicts. I'm not one to start shouting that this glorifies drug use or homelessness but with all those catchy tunes and soaring melodies, it almost made me want to run to the East Village and live the life of a drop-out. At least I'd be around some really hot boys. Anyway, I love the show, but it winds me up that people think this is some kind of cutting-edge social commentary.

Special props to Matt Caplan as Mark and Destan Owens as Collins. This is the best portrayal of Mark I have seen (in a grand total of three - yes, three! - times). He was energetic and had a voice that conquered the upper echelons of the part with ease. I felt Caplan brought a fantastic comedy to the part without detracting from his core as a character. I'm never sure how I feel about the dramatic merits of 'mugging' to the audience but in this instance, it was funny. The last time I saw the show, I was unfortunate enough to see Joey Fat One as Mark so I was most excited that Matt Caplan could act and sing. Monsieur Destan Owens was incredibly soulful and moved me to tears (although a phone book could sing that song and still make me cry). The entire cast were excellent, and any fears I had of the show being tired were not founded (you shouldn't believe everything on this board!). The ensemble guy playing Alison's father said "Sisters?!!" in the wrong place which was funny but I doubt many people noticed. I'm kinda embarrassed I did.

If you've never seen this show, go see it now, especially if like the more modern, pop/rock(ish) sound of Broadway. If you have seen it, go see it again!

Brooklyn
What is there to say of this show that hasn't been said before? For a start, I think it's good that it's closed. I would hate to think of anymore people subjected to the dire book. I can't believe some it was real. Particularly mortifying parts included the entire drug subplot (it makes Rent look positively avant garde in comparison), the cringeworthy reappearance of Brooklyn's mother and anything to do with the 'Streetsinger'. Not to mention an entirely unintelligible plot, or the unresolved characterisation of the 'City Weeds'.

The set was innovative but lacklustre. At one point the clear plastic backdrop which I assumed they were going to spray paint a subway line onto fell off so they were left to mime drawing the subway, holding their spray cans. I chortled into my playbill.

Vocally, every one of the actors was on top form. I am ashamed to admit but I had only bought tickets to see Eden Espinosa sing 'Once Upon A Time'. She did not let me down. That song may be the singular most electrifying moment I have experienced in watching theatre. It was truly spine-tingling and 100% belt-tastic. I unashamedly confess my love for vocal pyrotechnics and this show sated my desire with its abundance of riffs, ad libs and belting in general. The audience was moved to its feet after most of Eden and Ramona Keller's songs, and I joined the masses in many of these sudden uprisings. The singing was the only good part of the show.

I enjoyed the performances but left the theatre generally dissatisfied with the show, mainly due to the absolutely awful story. I never thought that a story could ruin a show so much, but now I know that is cruelly true.


All Shook Up
Well, well, well....a true theatrical enigma. I went into this expecting little and left expecting to see it again. I loved this show, even if had the hallmarks of everything I dislike in a show. The book was cruddy but somehow it won me over. I think that was because underneath the clunky jokes, the characters (all one billion of them) were appealing, archetypal as they were. The set was attractive and intriguing. I like a set that makes me want to get on stage and run around. It was all I could to stop myself jumping on that old rollercoaster track and singing.

Aah, the singing. The most important bit (for me anyway)... I loved it. Well, I should qualify that by saying that i loved the arrangements of the Elvis songs. The fave has got to be 'Can't Help Falling In Love'. When all of the cast are at the front of the stage, belting their little hearts out, I cannot fail to get a buzz. Cheyenne Jackson was most gorgeous (in a very square-jawed way) as Chad and was sufficiently Presleyesque to sing the songs of the King. Sharon Wilkins was a powerhouse and thoroughly deserved her spontaneous standing ovation as she belted her way through 'There's Always Me' (even if I did fear some awful vocal catastrophe for it seemed she was really at the extreme of her range - she didn't let us down though).
Jenn Gambatese was a little insipid for me. I think it was mainly due to the poorly written part, but her voice was a little 'Belle' for me. I was amused and dismayed at the blatant rip-off of Grease in the finale (which I'm sure even the Midwesterners saw coming).

Anyway, I'll be going to see this again, wearing something warmer (the theatre was WAY over air-conned) and in better seats (do not bother with the balcony seats, they are dire). I enjoyed this and was incredibly surprised at how I loved it.

Sidenote: This was a fantastic stage door experience, everyone was very nice and dealt with all the fans with true grace. Eden Espinosa, learn from this!

Altar Boyz
Wow-wee.

Wow.

Wowzers.

Yowzers.

This show is one high energy mofo. Makes a Chelsea pill head gay muscle boy look positively dull by comparison. I have never seen so much vigour onstage! These five EXCELLENT boys gave it their all. Being such a small cast in such a high energy ensures that each and every performance is of a super-high standard.

This show is not so much a musical as a great, fantastic, hilarious evening of song and dance. Oh, for every boyband to be this good. I am sad to note that the majority of the humour (at least for me and the audience on the eve I saw the show) is provided by the character of Mark played by the hilariously camp (camp as a titty) Tyler Maynard. He's leaving soon (July 10th methinks) so see it before then! you have three days!

The music is very boyband but there are moments when the sane rays of musical theatre light break through. Mark's big number, 'Epiphany' is a true triumph of male belt arrangement and will soon replace 'Lost In the Wilderness' as a male belt wannabe standard. I know I am not the only one to note the homage to Jennifer Holliday at the very end, but this was a wickedly amusing - and appropriate - in-joke to sock us with. Seeing as much of the visual humour surrounds mark and his total fey-ness, I found it deliciously non-PC, while at the same time, delightfully non-offensive (take note All Shook Up and La Cage). Even the gee-normous group of surgery-enhanced Texans i was sat amongst (I always get the TKTS tix amongst groups of people I don't fit in with - the Long Island trash in Hairspray springs to mind) were a-whooping and a-hollering with glee throughout the show.

The meagre book serves as a rather flimsy premise on which to base the songs on, and it is apparent that the book was written to link the book rather than the other way around, but in a show this lovely, who can argue. It was, at least, funny. You should see this show, but don't be disappointed if it loses something when Mr Maynard leaves.

Sidenote: I love Dodger Stages. It's my new favourite place.

UPDATED! I ADDED MAMMA MIA, SPELLING BEE, WICKED, FORBIDDEN BROADWAY AND ALL SHOOK UP (2ND VISIT)

Mamma Mia
I was let down. But I did go in with high expectations. A fellow MT Spaz had told me that the show was very excellent. It wasn't.

I can't tell which part of the show let me down though, that's the bother. Being a jukebox musical, the show had the requisite awful book. Jokes lamer than my dog, cliches more staid than my Gran and a plot as thin and obvious as Mary Kate and Ashley. I wasn't expecting Brecht or Miller though, so I don't think it was the book that screwballed me. Perhaps it was the abundance of understudies? Six of the main characters were not as listed. Three were stuffed into the Playbill ( Sophie was played by Meghan Dreyfuss, Sam by Brent Black and Pepper by Ryan-Michael Shaw); three were announced pre-show - if my memory serves, Tanya, Eddie and Harry (I could be wrong in my recollection of those though). Frankly, having six main characters substituted is a bit ridiculous. The worst was Meghan Dreyfuss. Whoever let this timid little thing on a stage is cruel. She started 'I Have A Dream' with a voice like a willow - shaky and thin. I was literally thinking, "Oh dear, she can't sing this." If I ever thought Jenn Gambatese had the monopoly on saccharin, cute and completely unsexual, I was sorely mistaken. This girl was like a pale ragdoll, limp and totally lifeless. Even in the moments when the insipid character of Sophie 'rocks out' she only managed to summon a glimmer of verve. Get this girl off the stage now. Aside from Harvey as Tevye, this ranks as the worst performance I have seen on Broadway.

To be fair, the rest of the cast, understudies included, were passable. There seemed to be two rather old men as ensemble members, which kinda gave me the impression they were there as some kind of 'Make A Wish' scheme, rather than full-time cast members. They just looked out of place, and it was sorely apparent that they weren't really part of Sky's cool (and hot) gang. Liz McCartney stole the show as Rosie, with her physical comedy. She caused me to shed my only tears of laughter of the entire show during the bedroom scene, when the women are remembering their heyday. Now, Miss Carolee Carmello, what about you.... New paragraph please.

Carolee Carmello. I must admit that her presence in the show was a huge factor in my eagerness to see the show. I LOVED her performing on the 'Parade' OBC, as well as in 'John and Jen'. She started off slightly lacklustre, and I felt some of the material in the show wasn't perfectly in her range. She had reached her stride for 'The Winner Takes It All' and she performed this 11'o'clock number like a true diva. Everyone in the theatre was enraptured and she summoned a spontaneous standing ovation from the audience. This fantastic actress is a true Broadway treasure and is the only reason to see this show.

I should retract that last comment, for you might want to see this show if you're a group of women needing some rather docile girl's fun. Or a semblance of empowerment. Or a smidgen of nostalgia for your prime. I truly believe that the only reason this show is so universally successful is because it offers a certain type of woman, a certain type of fun. It's entirely non-threatening and has a twee 'Girl's Night Out' feel to it, allowing peri-menopausal women to feel like Donna and her Dynamos for a milisecond, allowing them to create false memories of some wild and raucous past. Some might suggest that ABBA's timeless and wonderful tunes are another factor in the success of this show...I would concede that they are perhaps A factor, but the Women Factor is important too....

Sidenote: Carolee Carmello was absolutely LOVELY at the stage door. And crazy pretty, with lovely hair. I am now using my signed ticket as a bookmark, so I have a little bit of diva with me everywhere I go. It's not like I need any more mind you...

Spelling Bee a.k.a. The Little Show That Could
I enjoyed this show...but I'm glad I didn't fork out $95 for it. You must be some kind of sucker if you'd pay that for this. To be honest, this show belongs Off-Broadway. Granted, the show is hilarious. Granted, the performances are spot-on. Unfortunately, the show suffer a serious and terminal case of contentitis (which really means 'inflammation of content' but who's arguing?). The show is content-lite. Fat free and zero calories per serving. Fluffed up air. Give me a few hideously fresh-faced but charming actors skitting some weird kids and you have your very own Spelling Bee. Add in a spinning bleacher, some spelling and some ridiculously crowd-pleasing candy-throwing and you'll make it to Broadway. Notice how you don't need any music to succeed on Broadway! This show hasn't any! Oh...they have released a CD of the show. Let me listen.... Nope, none of this is memorable at all. I walked out of that underground gymnasium thinking I'd just seen a straight play. And that's what really irked about the show. For me, I felt the music was not integral to the show. The characters were excellent, and were performed with panache and wit. Nothing to fault there. The comedy was free-flowing and perfectly timed. But the songs were bland-o-bland.

I had SRO tickets which cost me $25. That's about appropriate for what I would expect to pay for 115 minutes of well-observed stand-up. I would never pay a hundred buckaroos for a non-musical. BTW, what is it with Broadway and intermission-less shows recently?

So maybe I'm being harsh...the songs were excellent moments for the characters to shine (except the out-of-place 'I Love You Song', which struck a note so bathetic as to be a moment of discord in an otherwise harmonic show), and special props to Dan Fogler and Sarah Saltzberg for their hilarious charicatures. I feel that they drew the long straws, for if I have one critiscism of the book, it was that we've seen the rest of the characters before. The kooky boy, the over-achieving Asian, they're pop-culture youth archetypes. But funny nonetheless.

In summary, a funny musical with entirely forgettable music but unforgettable performances. Only buy the SRO tickets, the rest aren't worth it.

Updated On: 7/14/05 at 11:36 PM

[WiCkEDrOcKS]

Posted: 7/6/05 at 11:40pm

Im still reading them but so far, so good! What are the other 4 reviews for??

[jczelyph]

Posted: 7/6/05 at 11:42pm

All Shook Up, Mamma Mia, Spelling Bee and Altar Boyz (technically Off-Broadway, I know, but it'll do). I am going to see Wicked July 20th. I have seen it already though. I'm excited.

[musicnmath]

Posted: 7/7/05 at 12:19am

I love that you used "chortled" in a sentence. hee hee. Ever since being in Joseph, I can't help being hyper-aware of that word.

*loved* reading these. more, more!

[jczelyph]

Posted: 7/7/05 at 12:22am

I think I got chortled from Jospeh too. I was in it too! I am writing the last 4 now. Are they OK or a bit shallow?

[mlsheehan]

Posted: 7/7/05 at 12:26am

Thanks for the reviews. I enjoyed them. Your style of writing is nice and informal - like you are talking to a friend. Very refreshing. I wish I could write more like that. Looking forward to your next four and more as you plant your roots in New York.

I'm glad to hear some nice things about Rent. So many are down on this cast. I was in NY a couple of weeks ago and definitely avoided the show, of course, I had many others to catch up on. Now I wish I had seen it. Oh well, maybe next year....

[musicnmath]

Posted: 7/7/05 at 12:27am

they're perfect. Technical details + cheeky observations = very good reviews. It helps, I think, that you like the same shows I do :) (except Sweet Charity, but I didn't see it with Christina, so I'm willing to let that slide)

[jczelyph]

Posted: 7/7/05 at 12:37am

Thanks, gang! I feel like such a fraud putting technical observations in, seeing as I wholly un-technical. I am glad u enjoy the reviews, and that my cheeky observations are appreciated.

I'm pleased that the reviews are easy to read, I love to use words that aren't so ordinary so I'm pleased the text still flows.

misheehan - Rent was really excellent. Unless I have a very poor memory, it was far better than the last time i saw it. It was (nearly) on a par with the OBC.

[TabooWickedFan]

Posted: 7/7/05 at 12:46am

loving the reviews so good. Though I enjoyed FOTR when i saw it. But your reviews are just so wonderful, can't wait to read the rest of them.

[jczelyph]

Posted: 7/7/05 at 12:57am

UPDATED

You guys are so nice!

Although I have no idea what you liked about Fiddler. I have never actively disliked a show so much. Tell me, I'm curious.

[musicnmath]

Posted: 7/7/05 at 1:54am

thanks, John!

It saddens me to think I won't get to see Altar Boyz with Tyler. sigh.

In what stretch of time did you see 11 shows?! looking forward to your final 2 reviews :)

[Broadway_Bound_Star]

Posted: 7/7/05 at 2:26am

Wow! nice job with everything!!!

[jczelyph]

Posted: 7/7/05 at 11:42am

Um, it was about 2 weeks.

[musicnmath]

Posted: 7/7/05 at 11:46am

I got so excited to read your review of DRS (which I LOVED) that I neglected to read your first two sentences *she says, sheepishly*

[ljay889]

Posted: 7/7/05 at 11:51am

Fabulous reviews! I love your Charity review, I totally agree with it.

[TabooWickedFan]

Posted: 7/7/05 at 11:54am

i saw Alfred Molina in the role, I actually went with school. I don't know I just truly enjoyed the music and the set. Though i thought i wasnt going to like it, I ended up liking it.

[NJgirl]

Posted: 7/7/05 at 11:56am

thanks for the amazing set of reviews :)

As for your Altar Boyz question- Tyler Maynard will be replaced by Danny Calvert who's most recent work was on the non eq. RENT tour. Some of us Altarholics have gotten a glimpse of him at the theater (I hope to this weekend) but apparently he's quite the cutie and looks the part. Rumor is that he's got a powerhouse voice and will be an excellent addition to the cast. But....Tyler originated the character of Mark...so it will be hard to not compare as I've seen the show quite a few times bc Tyler just owns that role up there.

~Cristin

[kangaroo]

Posted: 7/7/05 at 12:01pm

I understand your distaste for Harvey Fierstein... I feel the same way. Your reviews were very informative, and gave me really good information about each of the shows... things that I actually wanted to know. Thanks for your reviews and taking the time to do them!

~kangaroo

[jczelyph]

Posted: 7/7/05 at 12:04pm

The important things - like how hot Gregory Jbara is?

[musicnmath]

Posted: 7/7/05 at 12:14pm

precisely :) ...but tempered with comments on set design - both yours and the reactions of those around you. The brilliance is in the combination

[Kevo711]

Posted: 7/7/05 at 12:37pm

for the shows i've seen on your list, i almost completely agree with what you said! Awesome reviews! Thanks!

[jczelyph]

Posted: 7/7/05 at 12:59pm

I feel like Eva Peron! Thank you, my descamisados.

[almostxfamous]

Posted: 7/7/05 at 12:59pm

As NJgirl stated, Danny Calvert will replace Tyler. If you didn't know, one of the AMAAZING understudies/dance captain, Daniel Torres, will be leaving on the 10th as well.

Did you stay at Bar 39 to meet the boyz afterwards? I got to meet Andy(Luke), Scott(Matthew), David(Abraham), and I met up with Daniel, who I'd been e-mailing back and forth with for about a month and a half before I saw the show. They were all SO sweet. I missed Kevin, and Ryan had to run.

Daniel has told many of us Altarholics that Danny and Carlos L. Encinias, the new understudy/dance captain to replace him, are AMAZING.

When I saw the show, I saw Kevin Kern as Mark, and he was absolutely PHENOMENAL. I don't think we should have any worries about Danny, because they waited until they got someone they wanted, and they took a LONG time for casting.

The casting directors know what they're talking about, I mean, look at the amazing 5 originals they have! They've done an amazing job.

Also, if you didn't know, Andy Karl(Luke) is leaving on August 28th to do the limited 10-week run of the Off-Broadway show Slut, and David Josefsberg(Abraham) will follow him a week later on September 5th to also do Slut.

::tear::

So, did you meet any of them? That was the main point of my post.

[WiCkEDrOcKS]

Posted: 7/7/05 at 1:11pm

Cant wait to see what you thought about Bee!!

[jczelyph]

Posted: 7/7/05 at 1:21pm

When I began my theatre marathon, I decided to collect autographs from my favourite performers after the shows.

When I realised I was the only male amongst twenty or so pre-teen girls, I decided to draw a line at Off-Broadway and not worry about getting their autographs. And left promptly.

But then at Fiddler On The Roof I decided I loathed the show (and Fierstein's appalling performance) so much, I couldn't be bothered to the casts's autographs. I am going to burn the Playbill to exorcise the theatrical demons from my soul, lest they wreak havoc with any show I am ever involved with.

Normal service was resumed with Miss Very Lovely Carolee Carmello at Mamma Mia and the cast of Spelling Bee, both yesterday.