To contact us Click HERE Creating a musical must be hard work, especially one that isn't based on a movie or book where all of the plot points and characters already exist. Kathie Lee Gifford has spent the past ten years honing the new musical Scandalous. She's steered the show through various regional productions, with different directors, cast members, changing songs and even a changing title along the way. The musical, which opened this past Thursday has had one consistent all along in addition to Gifford, and that is Carolee Carmello in the lead role. Carmello is excellent in the role and Gifford deserves an "A" for her efforts and her tenacity to get this show to Broadway. However Gifford is wearing many hats with this show and her ability as the book writer, lyricist, additional composer and all around press agent through her chatting up the show during her Today Show co-host duties don't fare as well. Like it's fellow religious based show from last season, Leap of Faith, it is a show that I believe most likely won't be running for more then a few weeks after it's opening night.
Carolee Carmello
The musical is based on the life of Aimee Semple McPherson, the first "celebrity preacher" who saw her own share of highs and lows and the actual title of the show is Scandalous: The Life and Trials of Aimee Semple McPherson. McPherson was a Pentecostal evangelist who had a passion for religion, theatre and life after being exposed to religion at a very young age by her mother and the theatre through her schooling. Once she met the Irish Pentecostal preacher Robert Semple her journey had begun leaving her boring Canadian farm life behind and with a man that she not only loved but truly admired. However, after Semple died of malaria while they were missionaries in China, Aimee found herself back in the states and now with a young child. After a second husband and second child she found herself suffering from depression and near death but she then heard a voice, a voice that in her mind brought her back from near death and having received her "calling" she traveled the country saving souls as a revival preacher. Her revival meetings included elaborately staged scenes from the bible and her fame which was fueled by the famous people Aimee encountered while in Hollywood like Charlie Chaplin and William Randolph Hearst, all gave her a huge following that helped in her building the over 5,000 seat Angelus Temple in Los Angeles. She also started one of the first radio religious programs that helped make her known across the U.S. It is a passionate story with a driven, powerful woman at the center and one understands why Gifford has been drawn to the life of McPherson and getting her story told. However, it is the series of scandalous events in Aimee's life including romantic affairs, drug addiction, a mysterious month long disappearance and her use of faith healing and those somewhat provocative biblical pageants that give the musical it's title and the majority of the musical's interesting points, points that are at odds with the faith that drove Aimee.
Carmello and the fairly elaborate main set of the show
Framed by the 1927 court case where Aimee was on trial for faking her own kidnapping, Scandalous tells Aimee's story in flashback and while the musical is never preachy it does a very good job of showing the passion that Aimee had for life and religious and her connection to the people she came in contact with.
Carmello is nothing short of brilliant in the part. With one of the most powerful voices on Broadway, and a dozen Broadway shows on her resume, Carmello has unfortunately never found a lead role in a show to originate that has matched her talents and allowed her to become the Broadway leading lady she deserves to be. While Scandalous has provided her with a great part to play, the creative elements of the show have unfortunately let her down once again.
Candy Buckley, Edward Watts and Carmello
Carmello plays Aimee from the age of 17 to her 40's and provides enough shading in her characterization to come across as both the naive teenager in the first part of act one as well as the woman who has seen many things in her life by the end of the second act. She clearly gets across the drive that Aimee had to get the power and meaning of religion out to the masses and while there was the celebrity that came along with it, especially once she got to L.A. we never think from Carmello's performance that the fame was what was driving her. And while I think this show won't have much of a run, I do think that Carmello's performance is one that might be remembered come Tony time next May and this show might end up with a nomination for Carmello's performance.
George Hearn and Roz Ryan
The rest of the cast is quite good with George Hearn playing two parts, first as Aimee's father, who provided Aimee with not only a good upbringing but also with the approval of what she wanted to do with her life. Hearn also plays an L.A. preacher who is at odds with Aimee, mainly around the draw of her church and fame and how it is competing with his church. Hearn is quite good in both parts, especially in his touching portrayal of Aimee's father. Candy Buckley is Aimee's mother, and while the role is basically a one note part, Buckley gives the character the appropriate drive and convection that allows us to see where Aimee gets her drive from.
The Adam and Eve biblical pageant
Roz Ryan is the woman who Aimee meets in a brothel who quickly leaves her Madame days behind to help Aimee on her journey. Ryan is good in the part, but unfortunately the book gives her the majority of the jokes and while Ryan is up to the challenge, it still sorta turns her into the "big black funny lady" with the big voice who can get the punch line. Edward Watts plays two key parts in the show, missionary Robert Semple in the first act and one of Aimee's lovers in the second. He has a lovely voice, and a great torso that he gets to show off in those biblical tableaus. In fact, he does such a good job in playing both parts that you barely realize it is the same actor playing both roles. Andrew Samonsky is effective in the small part of the married man who helps Aimee get on the radio and who may or may not have been with Aimee, hold up in a California hotel, when Aimee was allegedly kidnapped in Mexico.
Andrew Samonsky and Carmello
With music by David Pomeranz and David Friedman and additional music by Gifford, the score has a wide range of songs, but unfortunately none that really register. David Armstrong directed the show and he manages to keep the show moving along through Aimee's elaborate story. There is fairly basic choreography by Lorin Latarro And while some of the creative cast have Broadway credits as performers this is the first time for all of them in these creative roles. While there are a number of things that are good about this show, there are also many that aren't and sometimes there are things that are good and bad all at the same time. For example, Gifford's book keeps the action moving along fairly quickly but there are far too many times when Carolee speaks to the audience with a "and then I did this" or "and then I did that" type of narration that is a sign of a weak writer trying to take shortcuts in explaining the action of their story. The book is also never really clear on the actual events behind the trial. While I understand that maybe no one really knows where Aimee was during those five weeks, the fact that the trial frames the show and so much of the second act is spent around it, for Gifford not to offer some facts or at least her thought behind the case make the whole point and the entire thrust of the show just fizzle out.
Carmello and Watts
The score has many different styles of music which is a good thing - this isn't one of those shows where every song sounds exactly the same. There are many nice songs in the show, with plenty of solos for Carmello as well as varied degrees of duets and ensemble songs. However, many of Carmello's numbers have the phrasing at odds with the lyrics and music. In fact the best song in the show is one where Aimee's two suitors are singing a duet and not one for Aimee. Also most of the songs end with a large booming crescendo. The sound design doesn't help with the amplification being extremely loud.
Also, the set design by Walt Spangler is fairly elaborate with the main set resembling the pulpit of the church that Aimee built in California. However, while the side stairs of the set move toward the sides of the stage, they never move all the way off, thus leaving a strange playing space for the action of just the center half of the stage. And Spangler's set pieces for the biblical tableau's in the second act are inventive and colorful but if you missed the line about Chaplin giving Aimee ideas about her sets you would think they were garish and completely at odds with what would normally be scene in a church.
While Scandalous isn't the train wreck that many Gifford haters thought it would be, it just doesn't manage to provide an appropriate score and book in line with the passion and life that Aimee had.
To contact us Click HERE The 1983 quirky film A Christmas Story is the latest holiday "classic" movie to get a musical adaptation. Based on radio humorist Jean Shepherd's stories of being a boy in Indiana in the 1940's, the film and musical follow young Ralphie's quest to get a Red Ryder BB gun for Christmas. The movie can be seen in heavy rotation during the holiday season on TBS and like the film, the musical captures just about every humorous, odd ball and touching moment of Ralphie and his families Christmas story in a whimsical and heart warming style.
It is a well done adaptation with a nice theatrical score, winning performances, fun choreography and a well used ensemble. After having performances in several cities last year, the show is making it's Broadway debut this season and while I'm sure this musical will have return engagements on Broadway in the future I definitely believe this show will have a huge life in regional and community theatres for years to come.
Dan Lauria and Johnny Rabe
Centering around a traditional middle class family who is trying to do what needs to be done not only to survive in the 1940's but also to make it through another Christmas season, the musical sticks fairly close to the film and brings to life many of the iconic scenes from the movie as well. With a book by Joseph Robinette and Music and Lyrics by Benj Pasek and Justin Paul, all of whom are making their Broadway debuts, the musical brings to theatrical life not only the infamous leg shaped lamp but also the scene with a boy licking a frozen lamp pole, Ralphie in a pink bunny suit, the crazy dogs next door and Ralphie's little brother stuffed into a child's snow suit, along with such phrases as "triple dog dare ya," "oh fudge," "fra-gie-leh" and of course "you'll shoot your eye out." These humorous moments and phrases when combined with the touching story at the core are what have made the movie a classic. Fortunately the creative team along with Director John Rando and Choreographer Warren Carlyle have managed to not dumb down or sanitize the kooky and edgier moments in the story and in fact have actually made it a more joyous affair with the addition of the top notch songs and very inventive choreography. I seriously appreciated that the couple of PG-13 moments in the film are still present in the musical version.
John Bolton, Johnny Rabe, Erin Dilly and Zac Ballard
While it helps to have seen the film, even if you have never seen the movie you will find much to like about A Christmas Story, the Musical. It helps that Dan Lauria is playing the older "Ralphie" who is telling the story of what happened to him and his family during this one Christmas season. Lauria has the right amount of balance not only in the fondness he has at looking back but also at the memory of all of the things that went wrong in the process of his attempt to get that BB gun. Lauria provided the same balance in his most famous role as the father in the tv show The Wonder Years so it is fairly a natural transition for Lauria. And while Lauria is basically only used as the narrator of the story, just like Jean Shepherd was in the movie version, it is a bit of a downside that while he is weaved throughout the show, they really haven't found a way to more seamlessly incorporate him into the show -he still seems more like an outsider to the events happening in front of him. But that is about the only downside I found in the show.
the very effective kids in the cast
Johnny Rabe is Ralphie and he has the perfect blend of fear, determination and desperation that any child has when they want something but see many obstacles in the way of achieving their goal. Rabe has a very good singing voice and dances nicely too. He is the epitome of the nice kid who isn't the most famous or the smartest and has his share of bullies, and so represents just about every one of us at that age. Rabe has no problem balancing all of his responsibilities in portraying this "every man" kid. He also has a wonderful relationship not only with John Bolton and Erin Dilly who play his parents but also with Zac Ballard who plays his younger brother Randy.
Erin Dilly, Zac Ballard, John Bolton and Johnny Rabe
Bolton is also giving a very good performance as the father who desperately wants to win a newspaper contest, even though he has no idea what the "major award" is that he'd win. It is a nice parallel to Ralphie's quest for the B.B. gun. And when Bolton wins the prize, the aforementioned "leg lamp" it turns into a very inventive dance number. Dilly as Ralphie's mom has the frantic 1940's housewife and mother down perfectly. She manages to keep everything moving along swimmingly even when confronted with a child who gets into fights, a turkey eaten by the dogs next door and that hideous leg lamp. She also delivers a touching ballad "Just Like That" about how quickly childhood passes. There is not much to say about Ballard except that he is hilarious and just about steals every scene he is in. I credit director Rando at having all four of these actors come across so naturally as a family and at how effective Rabe and Ballard are in their roles.
Caroline O'Connor
Rando and Carlyle also exhibit an excellent use of the children in the ensemble, especially during the "You'll Shoot Your Eye Out" tap number in the second act that is led by a terrific Caroline O'Connor and featuring tiny nine year old Luke Spring in a winning solo tap. That number is just one of the very inventive fantasy sequences, similar to what was done for the movie, that also includes the hilarious "Ralphie to the Rescue" Wild West sequence.
Benj Pasek and Justin Paul's score has a nice blend of big splashy numbers, humorous tunes and touching ballads. Pasek and Paul also composed the score for Dog Fight that ran Off Broadway this last Summer and I expect many more shows from them in the future. The creative elements for the show are top notch as well with a lovely house set and other colorful set pieces by Walt Spangler, colorful period costumes by Elizabeth Hope Clancy and effective lighting by Howell Binkley. Because the music and choreography are exceptionally special I think it is important to note that James Gray is the Associate Choreography, Larry Blank provided the orchestrations and Glen Kelly the dance arrangements.
A Christmas Story, the Musical is running on Broadway through December 30th. I don't need to triple dog dare you to go, just go and have a wonderful time with this crazy and touching family.
Official Show Site
Highlights from the World Premiere production:
Interviews with the cast and creative team:
Press rehearsal footage and interviews with the Original Broadway Cast:
To contact us Click HERE Edmond Rostand's most famous play Cyrano de Bergerac is one of the most produced plays on Broadway. The classic love story of big nosed Cyrano, handsome yet inarticulate Christian and the beautiful Roxane who they are both in love with has received numerous translations from Rostand's original 1897 French version. The latest translation by Ranjit Bolt written in 2007 is receiving it's Broadway debut in this production that ends its limited run tomorrow.
With over a dozen productions on and off Broadway over the years, including at least two musicalized ones, and many film versions, Rostand's story is so timeless that even now, well over 100 years since it first premiered, the stirring and simple love triangle and the theme of honor at the center of the story still registers today.
For anyone who hasn't seen a production of this story, here is the basic plot overview. Cyrano is a cadet in the French army and he is in love with his cousin Roxane, but thinks she could never love him because of his very large nose. He discovers that Roxane is in love with the new recruit Christian and when she asks Cyrano to protect him, the two men form a friendship that includes Cyrano helping Christian woo Roxane with the words he can't quite seem to come up with to proclaim his love for her. Over the course of many years, Cyrano continues to love Roxane from afar, and even during the war where Cyrano and Christian are sent to fight, he still writes love letters to her but signs them as if Christian wrote them. The story ends many years later with the truth finally being revealed.
I believe the reason this play has been produced so many times is because Cyrano is such a likable character and deep down each one of us has our own version of a large nose that gives us our own self doubts, so we can easily identify with him. The fact that he is also very lovable, intelligent, so well with words and still somewhat brash to those who are against him makes you root for him as well. Also, the use of rhyming verse and the style of the language provide an air of romance with a sense of humor that make you pay attention. Plus you just have to root for a guy with a big nose as the romantic lead!
Jamie Lloyd's direction is nicely centered with the appropriate tone and attention to ensuring the rhymes land correctly. The use of the theatre for Cyrano's entrance was especially theatrical and magical and tied directly into the play since his entrance takes place in a theatre. Bolt's translation is more on the grittier side and includes the use of some profanity that makes the more romantic and poetic moments really stand out. The previous productions that I've seen have been more on the glamorous side so the combination of Bolt's language and Soutra Gilmour's barren set and costume design was quite effective.
Cyrano de Bergerac is one of those plays that when presented in a good translation, with good direction and a cast up to the task of the material never fails to register with an audience clamoring for a good piece of drama. This latest production and translation is a touching and lovely production with a cast more than capable of delivering the goods.
To contact us Click HERE Peter Link – Goin’Home (On Heaven And Beyond) 2011, Watchfire MusicPeter Link’s musical resume reads like he must have made itup.Starting out as an actor, Peter Linkhas appeared on Broadway (Hair), ontelevision (As The World Turns), andin movies (The Out Of Towners).While successful on stage and in front of thecamera, it was composing that drove Link, and he soon began focusing all of hisefforts there.Writing at first forBroadway, Link earned two Tony Award nominations and one Drama Desk Award forhis musical work.One of his songs hascharted as a Top-Ten hit on Billboard.Link has also composed for a number of children’s programs over theyears, including Vegetable Soup; SesameStreet, The Electric Company and TheBig Blue Marble.
In 2006, Link and James Birch began an on-line inspirationalrecord label called Watchfire Music.Link has since focused much of his energy writing music inspired byfaith.His most recent effort isentitled “Goin’ Home (On Heaven And Beyond)”.
Goin' Home opens with the title track, an uplifting choral piece that iscontemplative and sweet. This transitions into "To My Father'sHouse", a contemporary soul gospel number that is catchy and inspired. "Heaven"takes on a vision of heaven. The conversational style that is meant to makethis more accessible robs the song of any real sense of flow. Stylisticallythis compares to the opening song of a musical; one used to set the scene notimpart information. These are rarely the ones you walk away humming.
"I Ain't Gonna Grieve My Lord No More / I Got A Robe" details a listof worldly items that won't get you into Heaven. This is an odd to simplicityand spirituality that's entertaining but light on both. "There's AMountain In My Way" takes on faith supported by a funky dance beat. Thesong is catchy and enjoyable from a purely sonic perspective, but is comparableto the lightweight worship music style that pervades Comtemporary ChristianMusic. "I Can't Go Home" is a languorous ballad acknowledging thereis still work to be done before going home to God. The presentation here isover dramatic and weighs heavily in the ears.
"We Fix It" offers up another view of Heaven in a preacher'sauthorial but does so in a fluffy soul/pop arrangement. "What Could HaveBeen" is a solo, melancholy love song that looks forward to looking backfrom beyond the veil and anticipating the sadness that he will have. From asongwriting perspective this is solid work. Thematically the song is whollyinconsistent with the spiritual aims of the album, and the delivery is overlydrawn out and heavy. The tide turns for "In Dat Great Gittin' UpMornin'", where elements of pop, gospel, soul and jazz come together incelebration of the final day when God calls his people home.
"Goin' Home" is a sweet and melodic ode to going to Heaven. The malelead vocal here is exquisite and rich, inspired by his subject. For as good asthis is, "When The Saints Go Marchin' In" is equally as cheesy. Openingwith a faux news report, things go downhill quickly with a rote repetition ofsaints from different cultures walking together. The sentiment is certainlyworthwhile, but here is an example of where inspirational music puts messageahead of composition. The ensemble eventually gets around to the song itselfmany listeners will have already tuned out. Things turn more contemplative forthe closing track "Come To Me As A Bird", which uses repetition asits focal point. The melody is solid, but the AB lyrical structure will wearthin for some listeners.Peter Link has proven time and time again he is a greatcomposer; yet even great composers miss on occasion.There are a couple of misses on Goin’ Home (On Heaven and Beyond), butLink stays the course and generally delivers superb songwriting in a musicaltableau that is very accessible.
Rating: 3 Stars(Out of 5)Learn more at www.peterlinkcreative.com.
To contact us Click HERE The 71s – We Are TheSeventy Ones 2012, The 71s MusicAnthem rock is back.So declare The 71’s, a melodic power quartet from Houston Texas that isintent on breaking out or breaking something, and soon. The 71’s, known in andaround Houston as a group of down to earth guys, write and play with apretension to greatness that is reminiscent of the best of the progressive rockera.This is accomplished with ablending of classic rock, punk, glam and even a bit of grunge.All of this comes together on The 71’s recentrelease, We Are The Seventy Ones.The album is not only a declaration ofmusical independence, but also charts out the course for what might be a longand glorious career.
The 71’s came to musical fruition at the inspiration of suchbands as Pearl Jam, Foo Fighers and Oasis, which might explain theirwide-ranging musical palette.Comparisons of late have referenced Band Of Skulls, but honestly this isone case where such pigeonholing tends to sell a band short.We AreThe Seventy Ones reveals a band that has found their musical footing.And even if, as I suspect, they haven’t fullysettled on which path they are going to follow yet, they’ve yet to findanything that they can’t play well.Thealbum kicks off with a noisy, 1980’s hard pop number in the form of “Blue Blood”.The 71’s add in a bit of punker sensibilityhere and end up with a sound reminiscent of early 90’s rockers The Men.
“Confession” builds on a bluesy guitar lick, driving forth in a wanton andvibrant rocker that you will have a hard time getting out of your head.Interestingly enough, vocalist Keeton Coffmansounds a bit like a young Corey Hart here (think “Sunglasses At Night”).The 71’s open the jets for “Waves”, awide-open rocker that seems destined to be played in stadia the worldover.The 71’s keep the energy high andthe melodic content higher throughout.“Adeline”is a vibrant rocker with its own inertia.You may find that you simply must dance when this love song for amiddle-aged rocker plays.
One of the things that make The 71’s so fun to listen to isthat they are constantly skating on the edge of disaster.There is a point of risk taking in music thatmany artists simply skate around.The 71’sdon’t skate; they march right up to the line and take chances.As with all such efforts, sometimes they falland fall hard.But the pure chutzpah ofthe band, blended with their individual and collective talents, means that moreoften than not something intriguing, inspiring or even beautiful comes out ofthe process.That’s the story behind thestory of We Are The 71’s.The 71’s will have you from hello.Rating: 4 Stars(Out of 5)
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To contact us Click HERE Peter Link – Goin’Home (On Heaven And Beyond) 2011, Watchfire MusicPeter Link’s musical resume reads like he must have made itup.Starting out as an actor, Peter Linkhas appeared on Broadway (Hair), ontelevision (As The World Turns), andin movies (The Out Of Towners).While successful on stage and in front of thecamera, it was composing that drove Link, and he soon began focusing all of hisefforts there.Writing at first forBroadway, Link earned two Tony Award nominations and one Drama Desk Award forhis musical work.One of his songs hascharted as a Top-Ten hit on Billboard.Link has also composed for a number of children’s programs over theyears, including Vegetable Soup; SesameStreet, The Electric Company and TheBig Blue Marble.
In 2006, Link and James Birch began an on-line inspirationalrecord label called Watchfire Music.Link has since focused much of his energy writing music inspired byfaith.His most recent effort isentitled “Goin’ Home (On Heaven And Beyond)”.
Goin' Home opens with the title track, an uplifting choral piece that iscontemplative and sweet. This transitions into "To My Father'sHouse", a contemporary soul gospel number that is catchy and inspired. "Heaven"takes on a vision of heaven. The conversational style that is meant to makethis more accessible robs the song of any real sense of flow. Stylisticallythis compares to the opening song of a musical; one used to set the scene notimpart information. These are rarely the ones you walk away humming.
"I Ain't Gonna Grieve My Lord No More / I Got A Robe" details a listof worldly items that won't get you into Heaven. This is an odd to simplicityand spirituality that's entertaining but light on both. "There's AMountain In My Way" takes on faith supported by a funky dance beat. Thesong is catchy and enjoyable from a purely sonic perspective, but is comparableto the lightweight worship music style that pervades Comtemporary ChristianMusic. "I Can't Go Home" is a languorous ballad acknowledging thereis still work to be done before going home to God. The presentation here isover dramatic and weighs heavily in the ears.
"We Fix It" offers up another view of Heaven in a preacher'sauthorial but does so in a fluffy soul/pop arrangement. "What Could HaveBeen" is a solo, melancholy love song that looks forward to looking backfrom beyond the veil and anticipating the sadness that he will have. From asongwriting perspective this is solid work. Thematically the song is whollyinconsistent with the spiritual aims of the album, and the delivery is overlydrawn out and heavy. The tide turns for "In Dat Great Gittin' UpMornin'", where elements of pop, gospel, soul and jazz come together incelebration of the final day when God calls his people home.
"Goin' Home" is a sweet and melodic ode to going to Heaven. The malelead vocal here is exquisite and rich, inspired by his subject. For as good asthis is, "When The Saints Go Marchin' In" is equally as cheesy. Openingwith a faux news report, things go downhill quickly with a rote repetition ofsaints from different cultures walking together. The sentiment is certainlyworthwhile, but here is an example of where inspirational music puts messageahead of composition. The ensemble eventually gets around to the song itselfmany listeners will have already tuned out. Things turn more contemplative forthe closing track "Come To Me As A Bird", which uses repetition asits focal point. The melody is solid, but the AB lyrical structure will wearthin for some listeners.Peter Link has proven time and time again he is a greatcomposer; yet even great composers miss on occasion.There are a couple of misses on Goin’ Home (On Heaven and Beyond), butLink stays the course and generally delivers superb songwriting in a musicaltableau that is very accessible.
Rating: 3 Stars(Out of 5)Learn more at www.peterlinkcreative.com.
To contact us Click HERE The 71s – We Are TheSeventy Ones 2012, The 71s MusicAnthem rock is back.So declare The 71’s, a melodic power quartet from Houston Texas that isintent on breaking out or breaking something, and soon. The 71’s, known in andaround Houston as a group of down to earth guys, write and play with apretension to greatness that is reminiscent of the best of the progressive rockera.This is accomplished with ablending of classic rock, punk, glam and even a bit of grunge.All of this comes together on The 71’s recentrelease, We Are The Seventy Ones.The album is not only a declaration ofmusical independence, but also charts out the course for what might be a longand glorious career.
The 71’s came to musical fruition at the inspiration of suchbands as Pearl Jam, Foo Fighers and Oasis, which might explain theirwide-ranging musical palette.Comparisons of late have referenced Band Of Skulls, but honestly this isone case where such pigeonholing tends to sell a band short.We AreThe Seventy Ones reveals a band that has found their musical footing.And even if, as I suspect, they haven’t fullysettled on which path they are going to follow yet, they’ve yet to findanything that they can’t play well.Thealbum kicks off with a noisy, 1980’s hard pop number in the form of “Blue Blood”.The 71’s add in a bit of punker sensibilityhere and end up with a sound reminiscent of early 90’s rockers The Men.
“Confession” builds on a bluesy guitar lick, driving forth in a wanton andvibrant rocker that you will have a hard time getting out of your head.Interestingly enough, vocalist Keeton Coffmansounds a bit like a young Corey Hart here (think “Sunglasses At Night”).The 71’s open the jets for “Waves”, awide-open rocker that seems destined to be played in stadia the worldover.The 71’s keep the energy high andthe melodic content higher throughout.“Adeline”is a vibrant rocker with its own inertia.You may find that you simply must dance when this love song for amiddle-aged rocker plays.
One of the things that make The 71’s so fun to listen to isthat they are constantly skating on the edge of disaster.There is a point of risk taking in music thatmany artists simply skate around.The 71’sdon’t skate; they march right up to the line and take chances.As with all such efforts, sometimes they falland fall hard.But the pure chutzpah ofthe band, blended with their individual and collective talents, means that moreoften than not something intriguing, inspiring or even beautiful comes out ofthe process.That’s the story behind thestory of We Are The 71’s.The 71’s will have you from hello.Rating: 4 Stars(Out of 5)
To contact us Click HERE Serapicos – Serapicos Is A Town 2012, Gabriel SerapicosSan Paolo,Brazil native Gabriel Serapicos claims Portuguese as his native language, butchooses to sing in English to feel more connected to the spirits of rock androll.This connection is at times rawand comically out of synch at times on his debut album, Serapicos Is A Town, but they playful heart of the album isultimately its redeeming factor.
Serapicosgets things rolling with the message, incessant garage rock of “There Is NoSatisfaction”.This retro-post-modernanswer to the Rolling Stones is built more from a bemused observationalism thanany real sense of angst or disappointment.You can almost picture the knowing smirk Serapicos is hiding as hesings.“Blow Me” features the same sortof self-satisfied frat boy smugness and fails to be allegorical in anyway.It’s an entertaining look into thebarely post-adolescent male mind with quasi 1970’s Lloyd-Webber flair.The band comes back to Earth with fairlymundane numbers such as “Artists Are Crazy” and the shambling “Pee PeeJazz”.With “LuckyNumbers”, Serapicos descend into a troubled They Might Be Giants paralleluniverse where bright airy melodies and whimsical story songs have beenreplaced by dark, minor key explorations and Smith’s inspired tales of woe.Jumping into a sound once used by Jan andDean, Serapicos get completed retro on “Inspire Me”. This fun rocker will getyour feet moving, and the messy garage style of play creates a funenvironment.Things roll back downhillfor “The Sexiest Girl In The World”.This amounts to a teen boy drooling over a girl in song without anysense of art or tact.That being said,there is an elemental cuteness to the song.“Balloon” finds Serapicos practicing a bit more tact in their wooingtechniques, but not much.The vocal isenough to sink this one, as Serapicos has only a passing relationship with thekey.
“The EggSong” is a catchy little piece of post-pop fluff that one presumes isironic.The song is very entertaining,with a frenetic energy that’s impossible to ignore.This is one tune where it’s best not to thinktoo much about what you’re listening to.“When Your Husband’s Away” is banal and droning; a difficult listen atbest."I Just Want To Be YourFriend" has a Doors style groove, but fails on pedantic and repetitivelyrics. "Love Pills" and "Russian Roulettes and PersianCarpets" are equally mundane, although the latter captures a bit of thatThey Might Be Giants air found earlier on the album. "Sexy Julia" isan unsubtle yet entertaining ode to an object of affection/desire. There is anabstract musicality encompassed in the catchy rock arrangement, and the song isdanceable in spite of its slightly messy presentation. Serapicos says goodnightwith the title track, a stumbling and inexplicably sad number that is messilythrown together and performed without conviction.Going italone on a first recording can be wonderfully freeing as an artist.It also leaves those who create exposed bythe weakness of their own worse natures.There is a clear influence of 1960’s rock and roll on Serapicos Is A Town, and the utter joythat emanates from music of that era is evident.Serapicos even manages to create some of thesame manic glee, both lyrically and musically, that drove the best of TheyMight Be Giants’ work.At the same time,Serapicos struggles against his own sense of cuteness, crossing over at timesinto wildly banal or even downright unlistenable moments.There is a lot of good to be mined from SerapicosIs A Town.A first classproducer could reign in Serapicos’ more self-immolating songwriting tendenciesand help him find the pure pop gems he seeks here.
To contact us Click HERE Kalen - Falling From The Sun 2012, Kalen ListerFirst youtake a small town girl from Exeter, New Hampshire with a penchant for singingand songwriting.Next, you provide herfertile mind with an Ivy League education.Finally, you turn her loose on the streets of Brooklyn to see whathappens next.This isn’t exactly KalenLister’s story, but it’s not far off the mark.Kalen brings an exciting and intellectual approach to song craft on herdebut solo CD, Falling From The Sun.
Kalen starts off with "Island", an ethereal pop vocal tune reminiscentof early recordings from Maryen Cairns or Milla Jovovich. The composition isbuilt of complex layers that are realized with surprising clarity over a lightdance beat. "Fallen From The Sky" explores how good love goes badwhen obsession sets in. Kalen uses an elevation to angry rocker to show growingfrustration while layering ghost-like vocal chants over the top. The effect isstriking.
Kalen gets gritty on "Rabid Girl", a story song about a young woman'sdescent into alcoholism and the demons that drive her there. The urgent energyof this tune carries over into "Neda", which reverts a bit to Kalen'smore ethereal pop sound. Maintaining a bit of that gritty feel and channelingit into bluesy pop, Kalen's moves on into the dark and spritely kiss off song"Hit The Road". This is the most impressive vocal performance on thealbum thus far, and hints at greater musical depths that Kalen may not yet havetapped. Kalen strips things down to piano, strings and voice for the closingwaltz, "It Takes A Lifetime." This is a wow moment, as Kalenstruggles through insecurity and indecision to a nominal understanding that theconfusion and fear is a normal part of life. Elements of Tori Amos or SarahSlean can be heard here, but Kalen really makes the moment her own by singingvery much from the heart.
Kalen Listermakes a grand statement in bold hues, subtle rhythms and deftly crafted phraseson Falling From The Sun.This is a nuanced EP that rewards patience,unfurling new layers with repeated listens.Kalen’s voice is enigmatic and warm, drawing you out of your listener’sisolation and involving you in the stories she spins.She’ll leave you wanting more and more.Rating: 4 Stars(Out of 5)
As we've been promising all week, SHOWBUZZDAILY has set up fancy new digs in another part of the internet. If you're viewing this site via a preexisting bookmark, please type the url www.showbuzzdaily.com in your browser, and it'll take you to our new location...then re-bookmark us once you're there, of course. We promise it'll be worth the journey--the site has a terrific new design and fresh content waiting for you at www.showbuzzdaily.com, so come join us!
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Video From Smudge37 Broadway's Lost Treasures 1
Culled from the archives of the first 20 years of Tony Award broadcasts, this DVD includes Joel Grey's opening "Wilkommen" number from "Cabaret" to Gwen Verdon and Chita Rivera's dazzling "All That Jazz" from "Chicago" in 1984. 17 performances in all.
BROADWAY'S LOST TREASURES is an unparalleled compilation of rare original cast performances from the televised versions of some of the biggest and most beloved Broadway musicals of the 20th century. These performances--which were seen only once in their original telecasts--have been rescued from the archives and compiled with introductions by featured stars Angela Lansbury, Jerry Orbach, Tommy Tune, and others. See Broadway's legends sing and dance their way through 17 signature showstoppers, including Joel Grey's "Wilkommen" from CABARET and Gwen Verdon and Chita Rivera's "All That Jazz" from CHICAGO. Both the VHS and DVD editions contain 5 bonus performances.
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Broadway's Lost Treasures II (2004)
Broadway's Lost Treasures II contains 90 minutes of memorable moments and performances from the various Tony-award telecasts throughout the years. Included on this edition are performances from such famous productions as Man of La Mancha, Chicago, Guys and Dolls, and Anything Goes. Such notables as Gregory Hines, Patti LuPone, Michael Jeter, Nathan Lane, and Jerry Orbach take part in the proceedings.
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Remember how much I told you I loved Rain - A Tribute To The Beatles?
Today, I'm thrilled to send a lucky Steve On Broadway reader to see the show. Congratulations to Eleah Burman from New York, New York, who has just won two free tickets to see Rain - A Tribute To The Beatles at Broadway's Neil Simon Theatre!
Eligible entries for this SOB Contest needed to subscribe to this blog, follow me on Twitter (and then retweet one of my contest messages) and follow me on Facebook.
Congratulations again, Eleah!
Thank you to everyone who entered the contest. By subscribing to Steve On Broadway, you'll automatically be entered in all future contests!
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In keeping with the new Federal Trade Commission (FTC) regulations that unfairly discriminate against bloggers, who are now required by law to disclose when they have received anything of value they might write about, please note that I have received nothing of value in exchange for this post. However, in conjunction with SpotCo, two tickets for Rain: A Tribute To The Beatles will be given away to one lucky reader. http://rpc.technorati.com/rpc/ping
To contact us Click HERE Hard To Imagine It's Been Thirty Years
It really is incredibly hard to believe it was 30 years ago today that John Lennon was murdered.
Millions of us were shocked to learn the tragic news in this highly surreal fashion. The evening of December 8, 1980, hit virtually everyone around the world so extraordinarily hard. Suddenly that evening, it didn't matter if you were a fan of The Beatles or Lennon. The idea that such a creative genius who espoused peace could be gunned down so violently broke our collective hearts.
Lennon's untimely death marked the end of an era, even as he had just attempted to begin a new one for himself.
The musical icon had just emerged from a self-imposed "exile" to help raise his young son Sean. On November 17, 1980, just three short weeks prior to his murder, he and his wife Yoko Ono released the incredibly hopeful "Double Fantasy," his first studio recording in five long years.
While the recording would quickly climb to number one on the Billboard charts and go on to earn him a posthumous Grammy for 1981 Album of the Year, for those of us who purchased the recording, we were haunted by the back cover image showing Lennon and Ono outside the Dakota Apartments, just steps from where this man of profound peace met his violent end.
Rest in peace, John Lennon. Thirty years later, we're still trying to imagine the type of world you envisioned.
This is Steve On Broadway (SOB).
In keeping with the Federal Trade Commission (FTC) regulations that unfairly discriminate against bloggers, who are now required by law to disclose when they have received anything of value they might write about, please note that I have received nothing of value in exchange for this post. http://rpc.technorati.com/rpc/ping
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Yesterday, after the Oklahoma City Thunder and 3rd guard James Harden were unable to reach an agreement on a contract extension, the Thunder traded Harden to the Houston Rockets. Harden will now be joining Jeremy Lin in the Rockets backcourt. A good pic of the two standing together.
How does Harden view his new backcourt partner? Harden responded:
How does Jeremy Lin’s game complement your style of play?
Harden: We’re similar. He’s a point guard but he can obviously score the ball. He makes tremendous decisions. He can pass the ball and it’s tough to guard him. It’s the same with me: I can score but I’m unselfish as well. We’re going to work off each other and then we’ll find a way to get our bigs and shooters involved.
I think it’s going to be great. You saw what he did last year when he had that great run and he’s capable of a lot more. So we’ll sit down and talk and figure things out and how to make the most of each other.
This statement by Harden was the piece in the Harden trade I was looking for to project Harden's beneficial impact on Lin.
On paper, Harden's game should enhance Lin's game. Harden is the next-generation Ginobili, meaning he combines basketball smarts and an all-around floor game with point ability, creative breakdown ability, and scoring and shooting ability. His experience playing with Russell Westbrook, a college combo guard converted to NBA PG like Lin, should help him adjust quickly to Lin. The Ginobili-Parker comparison is also apt.
I'll highlight three ways Harden should make Lin better. One, the most important goal for Lin this season is to log a full season, and Harden will allow Lin to pace himself and save wear and tear. Two, Lin's streaky shooting is less of a concern with Harden's superior shooting ability. Three, Harden will allow Lin the option of playing off the ball. If Lin struggles running the Rockets half-court offense against a top NBA defense, as happened at times last season with the Knicks, Lin can stay on the floor while Harden steps into the point role. When the Knicks signed Jason Kidd, I looked forward to pairing Lin with a cross-matching big point guard so that Lin could use his strengths as an off-the-ball, creative scoring and playmaking combo guard - a better version of 2011 Finals Heat-killer JJ Barea. Lin excelled in that role at Harvard. I believe Lin would be a devastating playmaker from the weak side initiating his offense (including secondary pick and rolls) against rotating defenders and mismatches. Of course, Kidd is on his last NBA legs and only scores as an outlet 3-point shooter, so it would have been a limited option for the Knicks. But coming to the Rockets, playing Lin off the ball was no option because Lin would be forced to dominate the ball again at PG. Now with Harden sharing the backcourt with Lin, the big guard with point ability will allow the Rockets to better exploit Lin's versatility by playing him on or off the ball. Lin's points and assists should bump up as a result.
My concern with Harden was that the ambitious, hungry, former 3rd guard would look to make his NBA rep as a front-line starter with a Kobe-esque approach that the ball belonged to him, and his new teammates, especially Lin, must co-exist with Harden on his terms. The Harden statement shows that he is joining the Rockets with the right attitude and views Lin as a complementary partner, not a competitor. I like it.
In terms of the team leader question, the NBA is not like the NFL, where the starting quarterback must always be the undisputed alpha male for the team to function. NBA teams need more than 1 star playmaker/scorer. As Harden should understand from playing with the Thunder, dynamic duos, and preferably big threes or even fantastic fours, are the baseline necessity to contend for the NBA championship. With the Knicks, the versatile Lin had the potential to form one of the best G/F combos in the NBA with the versatile Carmelo Anthony. Indeed, at the point Lin was lost to injury, the two players under Woodson were showing incipient signs of a legit dynamic duo. But by leaving the Knicks for the Rockets, Lin was going to be stuck as his team's lone star playmaker/scorer - good for Lin's personal stats, perhaps, but bad for team wins and the wear-and-tear load on him. Now the Rockets can stretch out defenses with Lin playing off Harden and vice versa. In principle, I still prefer a G/F combo like Lin/Anthony over a G/G combo, but a big/small-guard dynamic duo can work well, too, when both guards can run the point, make plays, and create scores.
Finally, nothing secures an athlete's reputation like a track record of clutch, even when the athlete has flaws in his game. When Kidd joined the Knicks, he emphasized that games are mostly won or lost in the last 5 minutes (ie, end of regulation or the full over-time), which is the only stage of the game the aged Kidd expected to play. Closing a game in clutch fashion is a Lin specialty, and depending on how much ability Kidd has left, a Kidd-Lin combo would have been effective at the end of games. Harden, based on his track record with the Thunder, should help Lin close games, too. One, while Harden took his share of clutch shots with the Thunder, he smoothly worked with Kevin Durant and Westbrook so that Harden's star teammates excelled in clutch situations. Two, Harden struggled to score in the clutch when his star teammates were contained in the Finals, which may make him more inclined to set up Lin for game-winning shots. If Lin game winners become a regular highlight on ESPN, his skeptics will have little to say, even if Lin's shooting remains streaky and his turnovers remain relatively high.
Harden sounds like his mindset is in the right place to play with Lin, which means the two smart, unselfish, multi-talented, hungry young guards should be a joy to watch playing together. Paired with Harden, Lin is now better positioned to sustain his play over a full season, which is his main goal for this season. But more than that, Lin can win with Harden. The Rockets have a competitive core of versatile guards with Lin, Harden, and Delfino. The team just needs one or two of the young bigs to step up and fill the offensive hole left in the frontcourt by the amnestied, reliable Luis Scola.
Add Oct 31, 2012: Lin on Harden. The Rockets 1st game of the 2012-13 season is tonight. Finally, Lin will begin to settle the spirited debates over his NBA future that have been non-stop since he went down with his knee injury in March.
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I vote in New York, which was going to Obama, so I didn't need to do a deep cross-issue study on the two candidates to make my decision. My vote is meaningless. If by a 1 in billion billions chance, Governor Romney wins New York by 1 popular vote, he seems like a decent man and competent enough for the job.
I cast my vote against Obama for one reason: Iraq.
Update: Obama reelected. Congratulations, Mr. President. Do better.
To contact us Click HERE Sometimes, as hard as I might try, I just don’t get it. For
instance, I know that I’m supposed to like Detroit, the new dark comedy that
opened at Playwrights Horizons this past week.
And I can give you at least five reasons why I should: 1. It was a finalist for the Pulitzer Prize in 2011. 2. It was a hit when it premiered at Chicago’s hip Steppenwolf
Theatre Company the year before that. 3. It has a hot cast lead by the-can-do-anything actress Amy
Ryan and David Schwimmer, the co-star of the beloved sitcom “Friends” who also
has serious theater chops. 4. It takes on the subject of class in America, which is
exactly the kind of serious thing I’m always saying that theater companies should do. 5. It has drawn mash notes from just about every critic in
town (click here to read the raves on StageGrade). And yet, I have to say that I just don’t get what all the
fuss is about. Although the play is called Detroit, playwright Lisa D’Amour
has set it in an unnamed “first ring suburb outside of a mid-sized American
city” that seems to be located deep in Edward Albee territory. For Detroit opens with a seemingly placid backyard barbeque
shared by two couples who are just getting to know one another. And then, pretty quickly, everything starts
to go to George-and-Martha-type hell as they all struggle to hold on to their
illusions about the American Dream. Actually, things aren’t so great from the get-go. The host
couple, Mary and Ben, are reeling from the Great Recession; he’s lost his job
as a bank loan officer and spends his days on their home computer ostensibly
setting up a consulting business. Meanwhile she's struggling to keep their heads above
water with the salary from her job as a lowly paralegal. Their new neighbors Kenny and Sharon have the kind of even
lower-wage jobs that seem to define the new economy: he works in a warehouse, she in a
call center. Kenny and Sharon confess that
they’re also recovering addicts but it’s obvious that they’re struggling with
other demons as well. Now I get—and even appreciate—the fact that D’Amour wants to
drive home the point that the post-War promises of the ‘50s were hollow and
that today’s middle class has been seriously wounded (literally here; the
fake blood flows). But this isn’t really news and Detroit doesn't offer any more insights into this discontent than an Occupy poster on an episode of TV's "Mad Men." And although some of the absurdist touches D’Amour and
director Anne Kauffman stir into their brew are undeniably amusing, they also struck me
as dramaturgical filigree instead of organic moments. Moreover, her characters live in such apparent isolation
from the rest of the world and go off on such surrealistic tangents that it’s
hard to feel much for them, even though all of the actors are quite fine. Ryan and Schwimmer are first-rate as Mary and
Ben (click here to read their take on the play). but I was even more impressed by Darren Pettie and Sarah Sokolovic who
bring a bracing sense of menace and disruptive energy to Kenny and Sharon.
Who knows, perhaps I might have received the play
differently if the scenic turntable hadn’t stalled midway through the
performance I saw, causing the stage manager to call the actors off the stage
and the house lights to be turned up for the 10 or so minutes that it took to get
it turning again. Or maybe I would have gotten more into Detroit if I hadn’t
been sitting in front of a row of old-codger theatergoers who spent half of the
show’s 100-minutes loudly asking their spouses to repeat lines that the actors
had just said. And then spent the other half making sarcastic, and equally loud, comments about
the ones they had managed to hear. Shame on them and all their ilk. Or it could just be that Detroit is one of those plays that, no matter what
the circumstance, just doesn't get to me.
Creating a musical must be hard work, especially one that isn't based on a movie or book where all of the plot points and characters already exist. Kathie Lee Gifford has spent the past ten years honing the new musical Scandalous. She's steered the show through various regional productions, with different directors, cast members, changing songs and even a changing title along the way. The musical, which opened this past Thursday has had one consistent all along in addition to Gifford, and that is Carolee Carmello in the lead role. Carmello is excellent in the role and Gifford deserves an "A" for her efforts and her tenacity to get this show to Broadway. However Gifford is wearing many hats with this show and her ability as the book writer, lyricist, additional composer and all around press agent through her chatting up the show during her Today Show co-host duties don't fare as well. Like it's fellow religious based show from last season, Leap of Faith, it is a show that I believe most likely won't be running for more then a few weeks after it's opening night. 
The 1983 quirky film A Christmas Story is the latest holiday "classic" movie to get a musical adaptation. Based on radio humorist Jean Shepherd's stories of being a boy in Indiana in the 1940's, the film and musical follow young Ralphie's quest to get a Red Ryder BB gun for Christmas. The movie can be seen in heavy rotation during the holiday season on TBS and like the film, the musical captures just about every humorous, odd ball and touching moment of Ralphie and his families Christmas story in a whimsical and heart warming style.
Edmond Rostand's most famous play Cyrano de Bergerac is one of the most produced plays on Broadway. The classic love story of big nosed Cyrano, handsome yet inarticulate Christian and the beautiful Roxane who they are both in love with has received numerous translations from Rostand's original 1897 French version. The latest translation by Ranjit Bolt written in 2007 is receiving it's Broadway debut in this production that ends its limited run tomorrow. 
