In the “olden days,” many of the big Broadway talents toured—Mary Martin, John Raitt, Carol Channing, Alfred Lunt and Lynn Fontanne, and others. Today, rarely do the big New York theatre names make it to the provinces, so when they do, to us theatre fans, it’s a really big deal.
And indeed, it was a really big deal when Douglas Sills came to town in The Scarlet Pimpernel because word had spread about his wonderful Tony-nominated performance. I’m so incredibly glad he toured!
To me, getting to see Douglas Sills as Percival Blakeney was akin to getting to see Robert Preston as Harold Hill. I mean, here is this phenomenal role filled with romance and howl-inducing laughter in a great show (Yes, I said a great show.) being played by the person for whom it was fitted.
I still have so many vivid memories of Douglas Sills in that show. Not only do I remember how Sills made the entire theatre burst into simultaneous laughter as he declared the importance of fashion, but he also pulled out all the stops for the agony in “Prayer.” We felt his urgency in “Into the Fire” and cheered him during the climactic battle against William Paul Michals.
For such a versatile actor, it’s a shame that Sills hasn’t done more in New York since. Perhaps he should do one of those one-laugh-an-hour Fox sitcoms for a few years then come back in another great role suited to him many talents.
Getting to Know You Interview: http://www.broadway.com/gen/Buzz_Story.aspx?ci=30594
Broadway Mouth
July 17, 2007
Tuesday, July 17, 2007
Monday, July 16, 2007
Amazing Broadway Performer: Marla Schaffel
There are so many great performers whose talents demand shows to be written for them. It’s nothing short of a major theatrical injustice that Marla Schaffel has not found a role on Broadway since her tour de force turn as Jane Eyre in Jane Eyre. I keeping hoping she’ll be chosen to take Mary Poppins on the road if not replace Ashley Brown on Broadway when she chooses to depart.
Jane Eyre is an extremely delicate and complex role. As a mega-fan of the Charlotte Bronte novel, I must say that despite many Janes on film, Marla Schaffel is the definitive Jane Eyre (and the musical the definitive adaptation of the show to any visual medium). Scene after scene, Marla Schaffel pounded every nuance, every detail, every ounce of Jane into that show. She brought out Jane’s firm determination, her longing and anguish, her loving, beautiful side. This was not just a tough role—Jane not only sings in most of the show’s songs, but it demands nothing short of 110% of the performer for an entire evening.
I know many people were mixed about the show itself. The novel has survived over 150 years as a favorite of men and women alike, and Paul Gordon and John Caird’s musical succeeded in adapting its epic scope in a manner that not only felt complete but wholly satisfying. If people disliked the show, I have a feeling they would have disliked the novel, which, again, has survived over 150 years in continuous publication. Whatever people felt about the show itself, Marla Schaffel was universally praised for her monumental performance. Yes, there were many gifted performers in the show—James Barbour, Mary Stout, Elizabeth DeGrazia, Jayne Paterson to name a few—but Marla Schaffel’s star turn gave the show its heart and soul. When I saw her, you could see every ounce of her passion exerted for the audience’s sake. By the curtain call, I couldn’t clap and cheer enough. I tried. I tried really hard. But how can you ever fully acknowledge such an amazing performance?
In fact, I can hardly listen to her on the CD or watch the clip below without wanting to re-read the original novel again.
Some people fondly remember Ethel Merman in Gypsy, Mary Martin in South Pacific, or Angela Lansbury in Sweeney Todd. I, for one, will always count Marla Schaffel in Jane Eyre as one of the greatest theatrical blessings I’ve ever been granted.
Unofficial Website: http://www.currerwells.net/marlaschaffel/
Broaday Mouth
July 16, 2007
Jane Eyre is an extremely delicate and complex role. As a mega-fan of the Charlotte Bronte novel, I must say that despite many Janes on film, Marla Schaffel is the definitive Jane Eyre (and the musical the definitive adaptation of the show to any visual medium). Scene after scene, Marla Schaffel pounded every nuance, every detail, every ounce of Jane into that show. She brought out Jane’s firm determination, her longing and anguish, her loving, beautiful side. This was not just a tough role—Jane not only sings in most of the show’s songs, but it demands nothing short of 110% of the performer for an entire evening.
I know many people were mixed about the show itself. The novel has survived over 150 years as a favorite of men and women alike, and Paul Gordon and John Caird’s musical succeeded in adapting its epic scope in a manner that not only felt complete but wholly satisfying. If people disliked the show, I have a feeling they would have disliked the novel, which, again, has survived over 150 years in continuous publication. Whatever people felt about the show itself, Marla Schaffel was universally praised for her monumental performance. Yes, there were many gifted performers in the show—James Barbour, Mary Stout, Elizabeth DeGrazia, Jayne Paterson to name a few—but Marla Schaffel’s star turn gave the show its heart and soul. When I saw her, you could see every ounce of her passion exerted for the audience’s sake. By the curtain call, I couldn’t clap and cheer enough. I tried. I tried really hard. But how can you ever fully acknowledge such an amazing performance?
In fact, I can hardly listen to her on the CD or watch the clip below without wanting to re-read the original novel again.
Some people fondly remember Ethel Merman in Gypsy, Mary Martin in South Pacific, or Angela Lansbury in Sweeney Todd. I, for one, will always count Marla Schaffel in Jane Eyre as one of the greatest theatrical blessings I’ve ever been granted.
Unofficial Website: http://www.currerwells.net/marlaschaffel/
Broaday Mouth
July 16, 2007
Friday, July 13, 2007
Amazing Broadway Performer: Susan Egan
I have such a big crush on Susan Egan, and I’ve never even seen her in person. I always liked her in the OBC recording of Beauty and the Beast, but I think I was first fully awaken to her charms when I saw her doing promotion for the Disney film Hercules. Her interviews with Leonard Maltin were so funny, and she was perfect in the role of Meg. Not only was she sassy and funny, but she got to sing that wonderful Alan Menken/David Zippel song “I Won’t Say (I’m in Love).”
The Triumph of Love CD was one of the first Broadway CDs I bought without seeing the show, and it was because I saw that Susan Egan was on it in a spot on CNN. I love that CD. Yes, it had an embarrassment of rich performances, but I love imagining Susan Egan’s performance as she attempts to come up with quick lies and stories to explain her ever-changing existence.
People often mention her unique voice, and I think that is one of the great appeals to her talent. She’s not the traditional soprano, which gives her not only depth but character. It sets her apart in a positive way. In hearing her voice, you can already see her vivid interpretation of characters like Miss Adelaide, Babe Williams, or Charity Hope Valentine.
I consider it a great travesty that I missed her performance in Thoroughly Modern Millie, though I did make up for it by seeing 13 Going on 30. Yes, I saw that dumb movie solely for her, even though I knew she didn’t have a speaking role. I always thought Susan Egan would make a great lead for a romantic comedy, so that was the closest I’ve gotten to that vision.
I love her album So Far, which is one of those great theatre albums where the star sings each song as if they were cast in the show. If you are a Beauty and the Beast fan, you must have it because it has her rendition of “A Change in Me,” even though she never actually sang the song on stage. After you’ve gotten the CD for that song, you can enjoy many other great performances on it. She has a second album which includes a song cut from Hercules, which I can’t wait to get the next time I’m in New York.
Website: http://www.susanegan.net/
Broadway Mouth
July 13, 2007
The Triumph of Love CD was one of the first Broadway CDs I bought without seeing the show, and it was because I saw that Susan Egan was on it in a spot on CNN. I love that CD. Yes, it had an embarrassment of rich performances, but I love imagining Susan Egan’s performance as she attempts to come up with quick lies and stories to explain her ever-changing existence.
People often mention her unique voice, and I think that is one of the great appeals to her talent. She’s not the traditional soprano, which gives her not only depth but character. It sets her apart in a positive way. In hearing her voice, you can already see her vivid interpretation of characters like Miss Adelaide, Babe Williams, or Charity Hope Valentine.
I consider it a great travesty that I missed her performance in Thoroughly Modern Millie, though I did make up for it by seeing 13 Going on 30. Yes, I saw that dumb movie solely for her, even though I knew she didn’t have a speaking role. I always thought Susan Egan would make a great lead for a romantic comedy, so that was the closest I’ve gotten to that vision.
I love her album So Far, which is one of those great theatre albums where the star sings each song as if they were cast in the show. If you are a Beauty and the Beast fan, you must have it because it has her rendition of “A Change in Me,” even though she never actually sang the song on stage. After you’ve gotten the CD for that song, you can enjoy many other great performances on it. She has a second album which includes a song cut from Hercules, which I can’t wait to get the next time I’m in New York.
Website: http://www.susanegan.net/
Broadway Mouth
July 13, 2007
Thursday, July 12, 2007
Broadway-Themed Bonus Feature Details: The Wedding Singer: and Circuit City Hairspray: Preview DVD
It’s taken me five months, but after a long waiting list at the library, I finally got The Wedding Singer: Totally Awesome Edition on DVD which has, as a bonus feature, “A Backstage Look at The Wedding Singer on Broadway,” identified on the back of the case as a featurette.
I had never seen the original Adam Sandler/Drew Barrymore movie when I fell in love with the Broadway show. When I finally saw it afterwards, I was reminded why I didn’t see it originally since watching Adam Sandler makes me want to gouge my eyes out with oven mitts on. However, even I would buy the DVD if there were some primo stuff on the bonus feature.
So, here are the details. The featurette is a 10-minute look at the show featuring interviews with the creative team, Stephen Lynch, and Laura Benanti. Each person gets a chance to talk about their thing, such as set designer Scott Pask describing his rubics cube squares as part of the set design. The footage seems to have been shot largely during the rehearsal period before the first preview out-of-town. There are a few snippets of chorus members getting make-up on, shots of the set, close-ups of costume design drawings, but most of the footage is of the promotional photo shoot for the picture which adorned the poster, including Lynch in the ‘80s wig he wasn’t wearing by the time I saw him in the show.
One really interesting observation made on it is from director John Rando who compares Stephen Lynch’s touring comedy career to the old days when actors refined their craft on the vaudeville circuit, which probably helps explain why Lynch was so amazing.
The second interesting observation is a brief interview with Laura Benanti. After reading about her on Broadway message boards for all these years, I was really surprised to see that she’s not the Loch Ness Monster. Not only is she extremely beautiful and talented, but she seems like, gasp, a really cool person. And I don’t think it was all in the editing.
The only footage from the show ends the featurette, with a one-minute look at “Come Out of the Dumpster,” which seems to be from a rehearsal with audience applause mixed in at the end (since there is no laughter on some of the big laugh lines).
I honestly don’t know if I would buy the DVD just for the featurette. It is always interesting to see people’s vision for a beloved show and to hear them discuss their work, but it is really lacking in meat—show footage. Oddly enough, I think footage from the show would have been their best bet in getting audiences to see it.
I often pop in such things to watch while I’m eating lunch on a Saturday or need some inspiration. My guess is that a year or two from now will tell whether this featurette is enough to get me to buy it when I am either craving the chance to see it again or have no interest.
Remember that this footage is only available on the Totally Awesome Edition, which features a close-up of Sandler and Barrymore against a white backdrop. The earlier edition is readily available, but it is lacking the “Behind the Scenes” look.
It’s of interest to note that in the Hairspray movie preview DVD available for free from Circuit City when you buy any CD or DVD (limited supply of the preview DVD are available), there is a $2 off coupon for several New Line romantic comedies (only good at Circuit City), of which The Wedding Singer: Totally Awesome Edition DVD is listed. The coupon is good through the end of August 2007. This seems like the type of movie that goes on sale, often for under $10.
Also included in the preview DVD is a coupon for $3 off several other New Line movies, including Antonio Banderas in Take the Lead with America’s sweetheart, Laura Benanti. It also indicates that specially-marked packages of the DVD The Last Mimzy have a Hairspray move voucher. I do remember from a preview trailer that The Last Mimzy seemed to me like The Exorcist For Kids. I’m sure we all want to rush out and buy it.
And, if interested—I know it’s been posted elsewhere—the Circuit City preview DVD features the “Ladies’ Choice” music video with Zac Efron and the dance stylings of Nikki Blonksi. It’s presented more as a scene from the movie than a regular music video, which is cool. There’s also a really great preview to the movie featuring interviews with the key creative staff and the main film stars, illustrated with lots and lots of footage from the movie. The packaging says it “INLCUDES OVER 30 MINUTES OF CONTENT!” As the packaging also states, the Behind-the-Scenes footage is 15 minutes (that includes credits), and the music video isn’t even three minutes. The other 12+ minutes of exclamation mark-worthy content is the must-see New Line previews for such high-interest movies as Rush Hour 3, Monster-in-Law, and The Notebook, the commercial for which, FYI, always pushes me near to vomiting. I recommend you skip over that one, too.
For free, though, the DVD is great to have, particularly since I’m already dying to see the movie again. If you don’t get the DVD, I have a feeling the bonus footage and music video will be included as bonus features on the Hairspray DVD, so “please don’t have a cow” if you miss it.
I had never seen the original Adam Sandler/Drew Barrymore movie when I fell in love with the Broadway show. When I finally saw it afterwards, I was reminded why I didn’t see it originally since watching Adam Sandler makes me want to gouge my eyes out with oven mitts on. However, even I would buy the DVD if there were some primo stuff on the bonus feature.
So, here are the details. The featurette is a 10-minute look at the show featuring interviews with the creative team, Stephen Lynch, and Laura Benanti. Each person gets a chance to talk about their thing, such as set designer Scott Pask describing his rubics cube squares as part of the set design. The footage seems to have been shot largely during the rehearsal period before the first preview out-of-town. There are a few snippets of chorus members getting make-up on, shots of the set, close-ups of costume design drawings, but most of the footage is of the promotional photo shoot for the picture which adorned the poster, including Lynch in the ‘80s wig he wasn’t wearing by the time I saw him in the show.
One really interesting observation made on it is from director John Rando who compares Stephen Lynch’s touring comedy career to the old days when actors refined their craft on the vaudeville circuit, which probably helps explain why Lynch was so amazing.
The second interesting observation is a brief interview with Laura Benanti. After reading about her on Broadway message boards for all these years, I was really surprised to see that she’s not the Loch Ness Monster. Not only is she extremely beautiful and talented, but she seems like, gasp, a really cool person. And I don’t think it was all in the editing.
The only footage from the show ends the featurette, with a one-minute look at “Come Out of the Dumpster,” which seems to be from a rehearsal with audience applause mixed in at the end (since there is no laughter on some of the big laugh lines).
I honestly don’t know if I would buy the DVD just for the featurette. It is always interesting to see people’s vision for a beloved show and to hear them discuss their work, but it is really lacking in meat—show footage. Oddly enough, I think footage from the show would have been their best bet in getting audiences to see it.
I often pop in such things to watch while I’m eating lunch on a Saturday or need some inspiration. My guess is that a year or two from now will tell whether this featurette is enough to get me to buy it when I am either craving the chance to see it again or have no interest.
Remember that this footage is only available on the Totally Awesome Edition, which features a close-up of Sandler and Barrymore against a white backdrop. The earlier edition is readily available, but it is lacking the “Behind the Scenes” look.
It’s of interest to note that in the Hairspray movie preview DVD available for free from Circuit City when you buy any CD or DVD (limited supply of the preview DVD are available), there is a $2 off coupon for several New Line romantic comedies (only good at Circuit City), of which The Wedding Singer: Totally Awesome Edition DVD is listed. The coupon is good through the end of August 2007. This seems like the type of movie that goes on sale, often for under $10.
Also included in the preview DVD is a coupon for $3 off several other New Line movies, including Antonio Banderas in Take the Lead with America’s sweetheart, Laura Benanti. It also indicates that specially-marked packages of the DVD The Last Mimzy have a Hairspray move voucher. I do remember from a preview trailer that The Last Mimzy seemed to me like The Exorcist For Kids. I’m sure we all want to rush out and buy it.
And, if interested—I know it’s been posted elsewhere—the Circuit City preview DVD features the “Ladies’ Choice” music video with Zac Efron and the dance stylings of Nikki Blonksi. It’s presented more as a scene from the movie than a regular music video, which is cool. There’s also a really great preview to the movie featuring interviews with the key creative staff and the main film stars, illustrated with lots and lots of footage from the movie. The packaging says it “INLCUDES OVER 30 MINUTES OF CONTENT!” As the packaging also states, the Behind-the-Scenes footage is 15 minutes (that includes credits), and the music video isn’t even three minutes. The other 12+ minutes of exclamation mark-worthy content is the must-see New Line previews for such high-interest movies as Rush Hour 3, Monster-in-Law, and The Notebook, the commercial for which, FYI, always pushes me near to vomiting. I recommend you skip over that one, too.
For free, though, the DVD is great to have, particularly since I’m already dying to see the movie again. If you don’t get the DVD, I have a feeling the bonus footage and music video will be included as bonus features on the Hairspray DVD, so “please don’t have a cow” if you miss it.
Amazing Broadway Performer: Chuck Wagner
People say that they don’t make ‘em like John Raitt anymore. Actually they do. His name is Chuck Wagner.
Now, I don’t mean to cheapen Chuck Wagner’s immense talent by comparing him to other talented performers, but what I mean is that he’s got that classic booming baritone voice, spot-on acting talent, and classic masculinity.
In addition to seeing him on the video of Into the Woods, I have been very fortunate that Chuck Wagner tours. I was first introduced to him in Jekyll and Hyde, opposite the formidable talents of Sharon Brown and Andrea Rivette. I was still a young, uneducated theatre-goer, but I remember the impression his performance left on me, that his Jekyll/Hyde was amazing. Even then, I could appreciate the magnitude of his performance. I hoped beyond hope that he’d get to do the show on Broadway by the time I made my first trip there. He didn’t get the chance, but whenever I listen to the OBC, I can’t help but remember Chuck Wagner’s great performance.
My most recent experience with Chuck Wagner was as Harrison Howell in the tour of Kiss Me, Kate, where he stole the show nightly with Rachel York in “From This Moment On.” Here was the same man playing a character completely different from Jekyll/Hyde in a show that was completely different from Jekyll and Hyde. As Harrison Howell, he was a hilarious buffoon, completely different from the tortured, sensuous character I’d seen prior. It was the producers’ sad loss that he was not cast as Fred Graham, where his amazing voice would have rightfully filled the theatre.
Whenever I play the dream casting game in my head, Chuck Wagner seems to always find a role—opposite Marla Shaffel in a tour of Jane Eyre, as Carl-Magnus in the revival of A Little Night Music, as a replacement King Triton in The Little Mermaid on Broadway, as someone in a regional production of 1776, Officer Lockstock in Urinetown, and others.
His self-named solo album is an exceptional recording, seeking to present great contemporary theatre songs with character-driven interpretations. Until he gets a shot at that next great role, it’ll have to suffice.
Website: http://www.chuckwagner.com/
Broadway Mouth
July 12, 2007
Now, I don’t mean to cheapen Chuck Wagner’s immense talent by comparing him to other talented performers, but what I mean is that he’s got that classic booming baritone voice, spot-on acting talent, and classic masculinity.
In addition to seeing him on the video of Into the Woods, I have been very fortunate that Chuck Wagner tours. I was first introduced to him in Jekyll and Hyde, opposite the formidable talents of Sharon Brown and Andrea Rivette. I was still a young, uneducated theatre-goer, but I remember the impression his performance left on me, that his Jekyll/Hyde was amazing. Even then, I could appreciate the magnitude of his performance. I hoped beyond hope that he’d get to do the show on Broadway by the time I made my first trip there. He didn’t get the chance, but whenever I listen to the OBC, I can’t help but remember Chuck Wagner’s great performance.
My most recent experience with Chuck Wagner was as Harrison Howell in the tour of Kiss Me, Kate, where he stole the show nightly with Rachel York in “From This Moment On.” Here was the same man playing a character completely different from Jekyll/Hyde in a show that was completely different from Jekyll and Hyde. As Harrison Howell, he was a hilarious buffoon, completely different from the tortured, sensuous character I’d seen prior. It was the producers’ sad loss that he was not cast as Fred Graham, where his amazing voice would have rightfully filled the theatre.
Whenever I play the dream casting game in my head, Chuck Wagner seems to always find a role—opposite Marla Shaffel in a tour of Jane Eyre, as Carl-Magnus in the revival of A Little Night Music, as a replacement King Triton in The Little Mermaid on Broadway, as someone in a regional production of 1776, Officer Lockstock in Urinetown, and others.
His self-named solo album is an exceptional recording, seeking to present great contemporary theatre songs with character-driven interpretations. Until he gets a shot at that next great role, it’ll have to suffice.
Website: http://www.chuckwagner.com/
Broadway Mouth
July 12, 2007
Wednesday, July 11, 2007
Amazing Broadway Performer: Carol Channing
I owe a lot to Carol Channing. As I’ve mentioned before, it was her 1994 pre-Broadway tour of Hello, Dolly! that got me hooked on theatre. The show was a true God-send to me.
I was a senior in high school and had worked away my summer in a miserable job at Target, but that job turned out to be the best thing ever because it gave me the money to see the show. My family was not well-to-do in the least, and when my mom saw that Carol Channing was coming to town in Hello, Dolly! and that there was this amazing discount on the tickets (I’ve never seen an Equity show do such discounts since), we went on a whim. She wanted to see Carol Channing, and while I knew who she was, I just went just for something different.
Everything about the show was amazing. I listened to the CD for two months straight afterwards, no exaggeration. In fact, it was in the week after seeing that show that I decided that I wanted to write a Broadway musical and came up with the premise for the show that I’ve been pursuing ever since (though I didn’t write the first draft until a year out of college).
It’s hard to explain Carol Channing’s appeal except to say that she filled that theatre with her presence. Yes, she had dead-on comedic timing, moved well, and was an amazing actress. But it was like she was a giant magnet and we, the audience, were all metal scraps unable to turn away. I was one of the first ones to stand up after the “Hello, Dolly!” number, and it was because I had to, not because I wanted to. Same with her curtain call at the end of the show. I was propelled to my feet; it wasn’t a choice. Even then, standing and clapping didn’t feel like enough to acknowledge this thing . . . this performance (which seems too small a word to describe it) which I had seen.
Ten years to the week after I had originally seen the tour, Carol Channing came to town again in her one woman show. She re-enacted the choreography for that wonderful title number, even indicating what she had done with her dress. I had chills down my spine remembering that moment and seeing this indescribable woman doing it again.
It is my dream to see her do the show again. Until then, I’d love to see some footage on YouTube (Hint, Hint). She’s recently indicated her desire to do it, though I don’t know if she could physically do it at her age. I once read in an interview that she does the show every 15 years, which means that she should be back coveting Vandergelder’s cash register in two years. I’m holding my breath.
In my dream world, when I’ve had hits on Broadway and on television and in film, I have enough money to build a new theatre on Broadway called the Carol Channing Theatre. Not only will it be one of those really big ones that can house expensive independent musicals with lots of knee room for people 6’5”, but it will have classical style artwork depicting great performances from great shows all over the walls. Above the proscenium arch will be Carol Channing with waiters in Hello, Dolly!
Broadway Mouth
July 11, 2007
I was a senior in high school and had worked away my summer in a miserable job at Target, but that job turned out to be the best thing ever because it gave me the money to see the show. My family was not well-to-do in the least, and when my mom saw that Carol Channing was coming to town in Hello, Dolly! and that there was this amazing discount on the tickets (I’ve never seen an Equity show do such discounts since), we went on a whim. She wanted to see Carol Channing, and while I knew who she was, I just went just for something different.
Everything about the show was amazing. I listened to the CD for two months straight afterwards, no exaggeration. In fact, it was in the week after seeing that show that I decided that I wanted to write a Broadway musical and came up with the premise for the show that I’ve been pursuing ever since (though I didn’t write the first draft until a year out of college).
It’s hard to explain Carol Channing’s appeal except to say that she filled that theatre with her presence. Yes, she had dead-on comedic timing, moved well, and was an amazing actress. But it was like she was a giant magnet and we, the audience, were all metal scraps unable to turn away. I was one of the first ones to stand up after the “Hello, Dolly!” number, and it was because I had to, not because I wanted to. Same with her curtain call at the end of the show. I was propelled to my feet; it wasn’t a choice. Even then, standing and clapping didn’t feel like enough to acknowledge this thing . . . this performance (which seems too small a word to describe it) which I had seen.
Ten years to the week after I had originally seen the tour, Carol Channing came to town again in her one woman show. She re-enacted the choreography for that wonderful title number, even indicating what she had done with her dress. I had chills down my spine remembering that moment and seeing this indescribable woman doing it again.
It is my dream to see her do the show again. Until then, I’d love to see some footage on YouTube (Hint, Hint). She’s recently indicated her desire to do it, though I don’t know if she could physically do it at her age. I once read in an interview that she does the show every 15 years, which means that she should be back coveting Vandergelder’s cash register in two years. I’m holding my breath.
In my dream world, when I’ve had hits on Broadway and on television and in film, I have enough money to build a new theatre on Broadway called the Carol Channing Theatre. Not only will it be one of those really big ones that can house expensive independent musicals with lots of knee room for people 6’5”, but it will have classical style artwork depicting great performances from great shows all over the walls. Above the proscenium arch will be Carol Channing with waiters in Hello, Dolly!
Broadway Mouth
July 11, 2007
Tuesday, July 10, 2007
Amazing Broadway Performer: Felicia P. Fields
One word: sexy.
I don’t know what it is about Felicia P. Fields, but when she is on stage as Sofia in The Color Purple, she is the embodiment of sex appeal. She made Sofia such a strong woman, confident and charming, that she made her sexy. There’s no question why Harpo loves her so much or why Squeak feels threatened by her. When you got it, you got it, and Felicia P. Fields ’s got it.
Plus, I love her voice. Not only is it strong, but it’s full of character. Like Norm Lewis below, I keep hoping to hear she’s been cast in Disney’s The Princess and the Frog because she’s got the perfect voice for animation.
Oh, and did I mention stage presence? This woman’s got it. I couldn’t take my eyes off her in The Color Purple.
Her Playbill credits list a number of traditional black roles. That’s great, but her talent calls for casting beyond such boundaries. Every month or so, someone’s starting a message board thread about who should play Mame in a revival. I bet Felicia P. Fields would be smasheroo.
Getting to Know You Interview: http://www.broadway.com/gen/Buzz_Story.aspx?ci=530470
Please Note: The image below is of LaChanze, but the clip is of Sofia's big number "Hell No."
Broadway Mouth
July 10, 2007
I don’t know what it is about Felicia P. Fields, but when she is on stage as Sofia in The Color Purple, she is the embodiment of sex appeal. She made Sofia such a strong woman, confident and charming, that she made her sexy. There’s no question why Harpo loves her so much or why Squeak feels threatened by her. When you got it, you got it, and Felicia P. Fields ’s got it.
Plus, I love her voice. Not only is it strong, but it’s full of character. Like Norm Lewis below, I keep hoping to hear she’s been cast in Disney’s The Princess and the Frog because she’s got the perfect voice for animation.
Oh, and did I mention stage presence? This woman’s got it. I couldn’t take my eyes off her in The Color Purple.
Her Playbill credits list a number of traditional black roles. That’s great, but her talent calls for casting beyond such boundaries. Every month or so, someone’s starting a message board thread about who should play Mame in a revival. I bet Felicia P. Fields would be smasheroo.
Getting to Know You Interview: http://www.broadway.com/gen/Buzz_Story.aspx?ci=530470
Please Note: The image below is of LaChanze, but the clip is of Sofia's big number "Hell No."
Broadway Mouth
July 10, 2007
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