SCARY, i have to agree in part. Sometimes the point around here seems to be who can be more "holier than thou" rather than really enjoying the company of other fans, old and young. It's part of why i stayed away for a while. Then i decided i couldn't let misery have its own company forever.
As to the original question, i went to see the opening of LIGHT IN THE PIAZZA with a decades-older friend. He said that production was like "Broadway used to be", meaning with the full orchestra, the terrific design, the ambition, the excellent singing, and the excitement. Even if it wasn't quite his "cuppa" ultimately, he could admire it so. That has nothing to do with the reviews or the general public, but with times just changing...he thinks a lot of things on B'way now were what used to only play off-B'way. In other words, small entertainments trumped up somehow. That's his opinion, but i can see what he means. For a small show, sometimes the cost of B'way can keep it from being a success...or running longer. For instance, i think SPELLING BEE could have run a lot longer off-B'way. Ditto CHAPERONE. And a lot of plays. But then again, AVENUE Q has proven a long franchise. TOS didn't quite, as of yet. So go figure.
For me, who is also quite a bit older than most on here, i can recall seeing CATS the first time in London. i scalped a ticket, and thought i had horrible seats as the scenery was right in front of me. Then the opening number happened, and the nearly-in-the-round setting began to revolve, and i was front row center (it was first staged there---unless it played somewhere else before i saw it---in a renovated TV studio, i believe called The New London). Cats crawled out of pipes right by my seat, sat in my lap, etcetera. i actually felt the sweat of the dancers flying out over us. Thrilling.
i had never seen anything like it. For you youngsters, it was like seeing the Cirque shows of my day----i was amazed people could turn triples, sing high C's, and fly on trapezes. Plus ACT, really inhabit, something like a cat. Now that kind of thing is common nature in lots of shows, so maybe the spectacle has to keep getting bigger. When i see CATS now i find it kinda boring, and i sit there wondering how it might be revised and freshened again.
My other favorite shows that first trip to London? THE MOUSETRAP (still running, i believe) and some Noel Coward tribute play with three people...but one of the three was Ian McKellen. i believe it was written and directed by Sean Mathias (sp?). The scenery couldn't have been simpler, but it was incredible. They changed their period clothes on stage, they moved their own props, etcetera....
On later trips there, i saw ANGELS IN AMERICA in the small arena space at the National, again with the actors moving props around. It shocked me how different it was on Broadway, how much more spectacular...still not sure which version i preferred. In London i got to see Maggie Smith in THREE TALL WOMEN, from the third row. i bought my ticket at the Leicester Square booth, their version of the TKTS Booth. She stayed for a post-show talkback, no need to stage-door. i saw McKellen again in a revival of BENT, at the National, again i think directed by Mathias. It was emotionally draining, stunning. i saw Diana Rigg twice, first in Greenwich in AGNES OF GOD (amazing), and when i went back afterward (the stage manager at the small stage door couldn't believe i stayed to thank her, and took me right back) she asked me if her American accent was credible, as she was so scared of the West End press when it was to move there from the regional. Later i saw her West End WHO'S AFRAID OF VIRGINIA WOOLF, and she was impeccable. She was to answer questions from my group of students afterwards, but sent out the sweetest note, which i still have: "v.(ery) sorry, but play v. long, and so v. tired...next time, perhaps. Albee is a bitch...and i hope my accent has improved". So she remembered me, which is still hard to believe.
Musically, there i saw the glorious GUYS AND DOLLS revival at the National with the movie comedienne Imelda Staunton (the nurse in SHAKESPEARE IN LOVE, among many other notable roles) as Adelaide; Elaine Paige in SUNSET BOULEVARD; the original MISS SAIGON, with Lea Salonga a revelation; Judi Dench (after a wonderful CHERRY ORCHARD in an earlier season) in the NIGHT MUSIC revival; the National's version of SUNDAY IN THE PARK; the original Denmar CABARET revival. Breathtaking, all of them.
i say all this not to tout Brit stages, but because partly i think their subsidized version of theatre makes it a part of the culture it has never become here. Tony Randall tried, bless his heart, to start a true National theatre; Lincoln Center is trying hard too, in its anniversary year. i think the KennCenter in DC tries hard. But the Brits have such a leap on us.
i've always wondered what it would be like, on our tax forms, to have a little checkbox like the ones they have for giving to the political party of your choice; would you pay one extra dollar for the NEA as you pay your taxes? what a difference that might make.
Times change....but the more things change, the more they stay the same.
Will: They don't give out awards for helping people be gay... unless you count the Tonys.
"I guarantee that we'll have tough
times. I guarantee that at some point
one or both of us will want to get out.
But I also guarantee that if I don't
ask you to be mine, I'll regret it for
the rest of my life..."
