I was so excited to see the tour cast of In the Heights perform on So You Think You Can Dance. I loved that show so much, it was like a mini reunion with some beloved friends. A big "I Miss Your Performance" to Kyle Beltran and Yvette Gonzalez-Nacer.
See you in September, In the Heights!
Here's a video I just found from Lopez Tonight.
the Broadway Mouth
July 9, 2010
Friday, July 9, 2010
Saturday, April 24, 2010
I'm Impressed: Laura Bell Bundy
I hate country music. Let me say that again. I hate country music. I bought a Johnny Cash CD after seeing Walk the Line and never finished listening to it. This, however, impresses me. The music video isn't to my liking (though I love its theatricality), but I have to admit to really liking this song and Ms. Bundy's performance of it.
After seeing the MTV broadcast of Legally Blonde (and listening to the CD about a trillion times), I'm a huge fan of Laura Bell Bundy's talents. She’s versatile and has a powerhouse voice. I hope her country career skyrockets to prove that with a little brains, a little talent, and a boatload of hard work, a Broadway artist can become a star beyond the Broadway stage.
the Broadway Mouth
April 24, 2010
After seeing the MTV broadcast of Legally Blonde (and listening to the CD about a trillion times), I'm a huge fan of Laura Bell Bundy's talents. She’s versatile and has a powerhouse voice. I hope her country career skyrockets to prove that with a little brains, a little talent, and a boatload of hard work, a Broadway artist can become a star beyond the Broadway stage.
the Broadway Mouth
April 24, 2010
Wednesday, December 9, 2009
Carnaval del Barrio: In the Heights
I have to admit that I wanted to be the first to bring hip hop to Broadway. I own very little of anything that could be called hip hop, but when it’s used as part of a song or with the right rhythms, hip hop can be really awesome stuff. And even though my hopes were crushed, I was so excited when In the Heights opened on Broadway back in 2008. And all this time later, I was still ecstatic to see the show on tour.
And it surpassed all my expectations.
The Cast
Huge kudos go out to the amazing tour cast, lead by the talented and charismatic Kyle Beltran as Usnavi. There are times you leave a tour thinking, “I could not have seen a better cast on Broadway,” and that describes the In the Heights tour. Beltran is joined by the dynamic Rogelio Douglas Jr., who has such depth and richness in his voice, as Benny. Yvette Gonzalez-Nacer couldn’t possibly be a cuter Vanessa, and she imbues the character with a powerful voice and an innocent girl-next-door sweetness. Arielle Jacobs looks like she was made for the role of Nina, singing with power and gentle beauty. Shaun Taylor-Corbett is effortless and hilarious as Sonny, embodying the character so completely you wouldn’t even know he was acting. The impossibly beautiful Isabel Santiago (and fellow BroadwaySpace resident) is hilarious and vocally powerful as Daniela, and she gets to deliver what ranks as one of the funniest lines in all Broadway history, “I heard you and Nina went for a role in the hay!”
For the more mature characters, Elise Santora is a powerfully voiced Abuela Claudia, and Daniel Bolero is a moving and impassioned Kevin. Natalie Toro, recently of A Tale of Two Cities, pulls out all the stops as Camila and makes “Enough” a powerful highlight of the second act.
In short, it is an amazing cast. In an ensemble show, casting is all important, and here, everything is pitch perfect. This was truly a Broadway tour with a Broadway worthy cast.
The Structure
Structurally, the use of music in In the Heights is an interesting mix of classic Broadway and the pop opera genre. In the same way that Les Miserables is largely constructed of stunning solos for Jean Valjean, Javert, Eponine, and Marius, there are a fair number of soul-revealing songs in In the Heights—Nina’s “Breathe,” Kevin’s “Inutil,” Abuela Claudia’s “Paciencia y Fe,” and even Vanessa’s “It Won’t Be Long Now”—that function to reveal character psyche but are not plot-based scenes in themselves (though there is some plot advancement in most of the songs). In other words, they have more in common with “I Dreamed a Dream” than, say, “Serious” or “Put On Your Sunday Clothes.”
Songs are also used as snapshots into moments of life. “No Me Diga” and “Carnaval del Barrio,” for example, don’t have over-arching ideas driving them forward. That is not to say that they aren’t important songs. As an ensemble piece, In the Heights is dependant upon such snapshots to pull us into the lives of these characters.
And of course, there are plenty of traditional style Broadway songs—the opening number, despite its rap and Latino flavor, is all Broadway. “When You’re Home,” “Champagne,” and “When the Sun Goes Down” are all traditional Broadway songs with traditional Broadway purposes.
What can’t get lost in my librettist-perspective analysis is that these are remarkable, exciting songs. And the best of them all—“96,000”—is an old-fashioned Broadway showstopper. In fact, it’s probably the closest thing I’ve seen to one since seeing Carol Channing and waiters singing the title number from the revival Hello, Dolly! in 1994. It’s an exciting, thrilling number, a perfect amalgam of purpose, music, lyrics, choreography, and casting. It had a tremendous effect on me both times I saw it.
And that what In the Heights teaches us, that formula isn’t as important as effect. And there’s no arguing that In the Heights is extraordinarily effective.
The Libretto
Like the classics of the Golden Age, In the Heights is filled with loveable and memorable characters. It shouldn’t be—Sonny, Vanessa, Nina, Benny, Daniela, et al. are not outrageous caricatures, bigger-than-life personae, or historically significant. They are simply, to quote Sesame Street, the people on the street where you live. But they’re so funny, so honest, and sing such great songs, you can’t help but love them all. The next time I get to New York, I feel like I should go to Washington Heights, but without Usnavi and Graffiti Pete, I might be more than just a little disappointed.
Like all great literature (and pieces of musical theatre) that focuses on the life of one particular culture, In the Heights is ultimately universal because of the stories of the characters. What working class man can’t relate to the fear of being inutil, who doesn’t want to rise above his station in life like Benny, and who doesn’t love the home they want to leave behind? I couldn’t tell if I was more Kevin, Usnavi, Benny, or Nina.
In the Heights is a truly great show, one on par with shows like Oklahoma!, Guys and Dolls, and Hairspray. While many recent Broadway shows have been immensely enjoyable—Dirty Rotten Scoundrels, The Wedding Singer, Legally Blonde, Mary Poppins—In the Heights counts as one of the greats. Of course, most of my readers will have already seen it, but I can’t help but celebrate my own discovery.
the Broadway Mouth
December 9, 2009
See footage of Rogelio Douglas Jr. and Arielle Jacobs. The sound isn’t the greatest, but their talent rises above.
This video is really fun and funny. Take the chance to meet tour Usnavi Kyle Beltran.
And it surpassed all my expectations.
The Cast
Huge kudos go out to the amazing tour cast, lead by the talented and charismatic Kyle Beltran as Usnavi. There are times you leave a tour thinking, “I could not have seen a better cast on Broadway,” and that describes the In the Heights tour. Beltran is joined by the dynamic Rogelio Douglas Jr., who has such depth and richness in his voice, as Benny. Yvette Gonzalez-Nacer couldn’t possibly be a cuter Vanessa, and she imbues the character with a powerful voice and an innocent girl-next-door sweetness. Arielle Jacobs looks like she was made for the role of Nina, singing with power and gentle beauty. Shaun Taylor-Corbett is effortless and hilarious as Sonny, embodying the character so completely you wouldn’t even know he was acting. The impossibly beautiful Isabel Santiago (and fellow BroadwaySpace resident) is hilarious and vocally powerful as Daniela, and she gets to deliver what ranks as one of the funniest lines in all Broadway history, “I heard you and Nina went for a role in the hay!”
For the more mature characters, Elise Santora is a powerfully voiced Abuela Claudia, and Daniel Bolero is a moving and impassioned Kevin. Natalie Toro, recently of A Tale of Two Cities, pulls out all the stops as Camila and makes “Enough” a powerful highlight of the second act.
In short, it is an amazing cast. In an ensemble show, casting is all important, and here, everything is pitch perfect. This was truly a Broadway tour with a Broadway worthy cast.
The Structure
Structurally, the use of music in In the Heights is an interesting mix of classic Broadway and the pop opera genre. In the same way that Les Miserables is largely constructed of stunning solos for Jean Valjean, Javert, Eponine, and Marius, there are a fair number of soul-revealing songs in In the Heights—Nina’s “Breathe,” Kevin’s “Inutil,” Abuela Claudia’s “Paciencia y Fe,” and even Vanessa’s “It Won’t Be Long Now”—that function to reveal character psyche but are not plot-based scenes in themselves (though there is some plot advancement in most of the songs). In other words, they have more in common with “I Dreamed a Dream” than, say, “Serious” or “Put On Your Sunday Clothes.”
Songs are also used as snapshots into moments of life. “No Me Diga” and “Carnaval del Barrio,” for example, don’t have over-arching ideas driving them forward. That is not to say that they aren’t important songs. As an ensemble piece, In the Heights is dependant upon such snapshots to pull us into the lives of these characters.
And of course, there are plenty of traditional style Broadway songs—the opening number, despite its rap and Latino flavor, is all Broadway. “When You’re Home,” “Champagne,” and “When the Sun Goes Down” are all traditional Broadway songs with traditional Broadway purposes.
What can’t get lost in my librettist-perspective analysis is that these are remarkable, exciting songs. And the best of them all—“96,000”—is an old-fashioned Broadway showstopper. In fact, it’s probably the closest thing I’ve seen to one since seeing Carol Channing and waiters singing the title number from the revival Hello, Dolly! in 1994. It’s an exciting, thrilling number, a perfect amalgam of purpose, music, lyrics, choreography, and casting. It had a tremendous effect on me both times I saw it.
And that what In the Heights teaches us, that formula isn’t as important as effect. And there’s no arguing that In the Heights is extraordinarily effective.
The Libretto
Like the classics of the Golden Age, In the Heights is filled with loveable and memorable characters. It shouldn’t be—Sonny, Vanessa, Nina, Benny, Daniela, et al. are not outrageous caricatures, bigger-than-life personae, or historically significant. They are simply, to quote Sesame Street, the people on the street where you live. But they’re so funny, so honest, and sing such great songs, you can’t help but love them all. The next time I get to New York, I feel like I should go to Washington Heights, but without Usnavi and Graffiti Pete, I might be more than just a little disappointed.
Like all great literature (and pieces of musical theatre) that focuses on the life of one particular culture, In the Heights is ultimately universal because of the stories of the characters. What working class man can’t relate to the fear of being inutil, who doesn’t want to rise above his station in life like Benny, and who doesn’t love the home they want to leave behind? I couldn’t tell if I was more Kevin, Usnavi, Benny, or Nina.
In the Heights is a truly great show, one on par with shows like Oklahoma!, Guys and Dolls, and Hairspray. While many recent Broadway shows have been immensely enjoyable—Dirty Rotten Scoundrels, The Wedding Singer, Legally Blonde, Mary Poppins—In the Heights counts as one of the greats. Of course, most of my readers will have already seen it, but I can’t help but celebrate my own discovery.
the Broadway Mouth
December 9, 2009
See footage of Rogelio Douglas Jr. and Arielle Jacobs. The sound isn’t the greatest, but their talent rises above.
This video is really fun and funny. Take the chance to meet tour Usnavi Kyle Beltran.
Saturday, October 3, 2009
Almost Practically Perfect
The Mary Poppins tour is one of the few shows that came through town where a lot of people I know attended. I know people who want to see The Lion King or Wicked and aren’t able to get tickets, but here, they had the magic blending of the desire to pay the money to see the show and the availability of seats for it to happen. And the one thing each of these people who saw it had in common was that they all loved it.
I was one of them.
Of all the Disney stage shows that originated as movies, Mary Poppins is the first show to feel authentic to the stage, not dependant upon gimmicks (the video projections of Tarzan), awkward visuals (Timon and the waterfall in The Lion King), or incongruities (a teapot the size of Beth Fowler in Beauty and the Beast). Thankfully, the creators don’t attempt to replicate all the special effects of the movie—let’s hope Disney continues down this route.
And that is the strength of Mary Poppins. I had already heard that the movie differed from the original books—and the movie is fantastic—but it seems right for the stage show to return to those roots, particularly if the movie cannot be replicated. On stage, the characters are deeper, more human. The Banks family of the original movie is a Disney creation of the era, the Banks family of the stage is rooted more firmly in real life.
The biggest strength of the production—the biggest strength of any production—is that cast. God bless Disney and Cameron Mackintosh for sending Ashley Brown and Gavin Lee out on tour! They spear-headed a marvelous group of actors.
Ashley Brown imbues Mary Poppins with humor and a sauciness that differs from the Julie Andrews interpretation, which is more than fitting since stage Mary is written more than just a little differently from movie Mary. My favorite moment of the whole show is when Ashley Brown tells Mr. Banks that she doesn’t explain anything with a flirty wink that leaves him speechless.
Gavin Lee is a great Bert filled with charisma and stage presence. Other highlights of the cast include Ellen Harvey as a delectable and hilarious Miss Andrew who stops the show twice with crazy vibrato. Megan Osterhaus also shines as a prettily voiced but uncertain Mrs. Banks. The two children—Aida Neitenbach and Christopher Flaim—were wonderful.
Upon reflection, the weakest link in the show—which I am, by far, not the first one to acknowledge—are the new songs by George Stiles and Anthony Drewe. Within the show, they are very fitting and appropriate. The songs do what they should, and in that respect, they are delightful. At the same time, the Sherman Brothers have a knack with melding melody with clever and melodic lyrics that Stiles and Drewe don’t have. The Original London Cast recording, for example, doesn’t withstand multiple hearings in the same way many other recent scores do—Legally Blonde, The Drowsy Chaperone, or The Wedding Singer, for example. The best songs in the show are undoubtedly the ones that remain un-rewritten from the movie (and “Supercalifragilisticexpialidocious”). Stiles and Drewe do a nice job of zapping the spark from “Jolly Holliday” and “Step in Time,” though it was important that they alter the songs to fit their new purpose.
The other weak link in the show is the choreography by Matthew Bourne and Stephen Mear. “Step in Time” is wonderful, and the spelling in “Supercalifragilisticexpialidocious” is a good, but songs like “Jolly Holliday” never excite (wouldn’t it be fun to think of what Susan Stroman or Kathleen Marshall might have done with them?).
The sets and costumes are by Bob Crowley, who always does such beautiful work.
In a separate note, I think it’s important to acknowledge that Mary Poppins seems to be part of the increasing trend over the past few years to get lazy on hiding the backstage. Though I paid full price, I saw several performers standing in the wings waiting for their entrance, saw a stage hand behind one of the sets during one scene, saw Mary grabbing the kite and waiting for her big entrance in Act 2, and in getting Bert ready for his specialty in “Step in Time,” the stage hands were all but on stage preparing him. Perhaps some of the Disney magic needs a little help from smoke and mirrors to mask the backstage.
Those criticisms aside, Mary Poppins is a delightful show, tons of fun, and left an audience thrilled and moved.
The Broadway Mouth
October 3, 2009
I was one of them.
Of all the Disney stage shows that originated as movies, Mary Poppins is the first show to feel authentic to the stage, not dependant upon gimmicks (the video projections of Tarzan), awkward visuals (Timon and the waterfall in The Lion King), or incongruities (a teapot the size of Beth Fowler in Beauty and the Beast). Thankfully, the creators don’t attempt to replicate all the special effects of the movie—let’s hope Disney continues down this route.
And that is the strength of Mary Poppins. I had already heard that the movie differed from the original books—and the movie is fantastic—but it seems right for the stage show to return to those roots, particularly if the movie cannot be replicated. On stage, the characters are deeper, more human. The Banks family of the original movie is a Disney creation of the era, the Banks family of the stage is rooted more firmly in real life.
The biggest strength of the production—the biggest strength of any production—is that cast. God bless Disney and Cameron Mackintosh for sending Ashley Brown and Gavin Lee out on tour! They spear-headed a marvelous group of actors.
Ashley Brown imbues Mary Poppins with humor and a sauciness that differs from the Julie Andrews interpretation, which is more than fitting since stage Mary is written more than just a little differently from movie Mary. My favorite moment of the whole show is when Ashley Brown tells Mr. Banks that she doesn’t explain anything with a flirty wink that leaves him speechless.
Gavin Lee is a great Bert filled with charisma and stage presence. Other highlights of the cast include Ellen Harvey as a delectable and hilarious Miss Andrew who stops the show twice with crazy vibrato. Megan Osterhaus also shines as a prettily voiced but uncertain Mrs. Banks. The two children—Aida Neitenbach and Christopher Flaim—were wonderful.
Upon reflection, the weakest link in the show—which I am, by far, not the first one to acknowledge—are the new songs by George Stiles and Anthony Drewe. Within the show, they are very fitting and appropriate. The songs do what they should, and in that respect, they are delightful. At the same time, the Sherman Brothers have a knack with melding melody with clever and melodic lyrics that Stiles and Drewe don’t have. The Original London Cast recording, for example, doesn’t withstand multiple hearings in the same way many other recent scores do—Legally Blonde, The Drowsy Chaperone, or The Wedding Singer, for example. The best songs in the show are undoubtedly the ones that remain un-rewritten from the movie (and “Supercalifragilisticexpialidocious”). Stiles and Drewe do a nice job of zapping the spark from “Jolly Holliday” and “Step in Time,” though it was important that they alter the songs to fit their new purpose.
The other weak link in the show is the choreography by Matthew Bourne and Stephen Mear. “Step in Time” is wonderful, and the spelling in “Supercalifragilisticexpialidocious” is a good, but songs like “Jolly Holliday” never excite (wouldn’t it be fun to think of what Susan Stroman or Kathleen Marshall might have done with them?).
The sets and costumes are by Bob Crowley, who always does such beautiful work.
In a separate note, I think it’s important to acknowledge that Mary Poppins seems to be part of the increasing trend over the past few years to get lazy on hiding the backstage. Though I paid full price, I saw several performers standing in the wings waiting for their entrance, saw a stage hand behind one of the sets during one scene, saw Mary grabbing the kite and waiting for her big entrance in Act 2, and in getting Bert ready for his specialty in “Step in Time,” the stage hands were all but on stage preparing him. Perhaps some of the Disney magic needs a little help from smoke and mirrors to mask the backstage.
Those criticisms aside, Mary Poppins is a delightful show, tons of fun, and left an audience thrilled and moved.
The Broadway Mouth
October 3, 2009
Thursday, July 30, 2009
Broadway Mathematician Style
It was a surefire hit. Dolly Parton. Allison Janney. Joe Mantello. An adaptation of a well-known movie. It even had a music video for one of the songs.
Oh, wait. I got that wrong. It should be: Elton John. Anne Rice. A title everyone would know.
Shoot! I got it wrong again. Boublil and Schonberg. Irish dance. Irish culture. The producers of Riverdance. Big sets.
Okay, maybe I mean them all. And Phil Collins. And an adaptation of a beloved Disney movie. And Jason Robert Brown. A unique show concept. The music of the Beach Boys. Johnny Cash. Elvis. Christina Applegate. Adaptation of a John Waters movie. A unique cast of four.
The list goes on and on and on. And looking at the list of titles—9 to 5, Lestat, The Pirate Queen, Tarzan, 13, Good Vibrations, Ring of Fire, All Shook Up, Sweet Charity, Cry-Baby, and Glory Days—one thing is clear. Broadway is not a place for cookie-cutter anything. In Hollywood, producers rip things off all the time. If Transformers is a big hit, tap into another popular 80s toy and make G.I. Joe. If The Wedding Crashers is a hit, make Knocked Up and a host of other “adult, R-rated movies.” If Beauty and the Beast is a hit, make Thumbelina, The Swan Princess, and Anastasia. But Hollywood can get away with it; they produce a great deal more movies than plays or musicals ever appear on Broadway. Statistically, they have a better chance of making money off bad ideas.
If a producer is looking for a surefire hit, the only guarantee is to find a show that is truly entertaining (and even that isn’t a guarantee). If Dolly Parton, Allison Janney, and the name 9 to 5 can’t be a hit on genetics alone, then no show can. Each of those flops—and no doubt they were passion projects for some producer—didn’t work, even though they all fit the mould of some other success. You can just see investors (and maybe producers) thinking Cry-Baby would be the next Hairspray, that Good Vibrations and cousins would be the next Mamma Mia, that no one would miss out on Hollywood starlet Christina Applegate in a revival of Sweet Charity.
So, if I was a producer, I would clear away my concerns about a musical being marketable, worries about finding a star name who won’t screw things up too much, trying to find a recognizable title, or trying to find that unique, stand-out-from the crowd Purple Cow concept. Find something that’s strong and make it stronger. Make it entertaining.
To paraphrase Alan Jay Lerner—In the end, all anyone cares about is if it’s good.
the Broadway Mouth
July 30, 2009
Oh, wait. I got that wrong. It should be: Elton John. Anne Rice. A title everyone would know.
Shoot! I got it wrong again. Boublil and Schonberg. Irish dance. Irish culture. The producers of Riverdance. Big sets.
Okay, maybe I mean them all. And Phil Collins. And an adaptation of a beloved Disney movie. And Jason Robert Brown. A unique show concept. The music of the Beach Boys. Johnny Cash. Elvis. Christina Applegate. Adaptation of a John Waters movie. A unique cast of four.
The list goes on and on and on. And looking at the list of titles—9 to 5, Lestat, The Pirate Queen, Tarzan, 13, Good Vibrations, Ring of Fire, All Shook Up, Sweet Charity, Cry-Baby, and Glory Days—one thing is clear. Broadway is not a place for cookie-cutter anything. In Hollywood, producers rip things off all the time. If Transformers is a big hit, tap into another popular 80s toy and make G.I. Joe. If The Wedding Crashers is a hit, make Knocked Up and a host of other “adult, R-rated movies.” If Beauty and the Beast is a hit, make Thumbelina, The Swan Princess, and Anastasia. But Hollywood can get away with it; they produce a great deal more movies than plays or musicals ever appear on Broadway. Statistically, they have a better chance of making money off bad ideas.
If a producer is looking for a surefire hit, the only guarantee is to find a show that is truly entertaining (and even that isn’t a guarantee). If Dolly Parton, Allison Janney, and the name 9 to 5 can’t be a hit on genetics alone, then no show can. Each of those flops—and no doubt they were passion projects for some producer—didn’t work, even though they all fit the mould of some other success. You can just see investors (and maybe producers) thinking Cry-Baby would be the next Hairspray, that Good Vibrations and cousins would be the next Mamma Mia, that no one would miss out on Hollywood starlet Christina Applegate in a revival of Sweet Charity.
So, if I was a producer, I would clear away my concerns about a musical being marketable, worries about finding a star name who won’t screw things up too much, trying to find a recognizable title, or trying to find that unique, stand-out-from the crowd Purple Cow concept. Find something that’s strong and make it stronger. Make it entertaining.
To paraphrase Alan Jay Lerner—In the end, all anyone cares about is if it’s good.
the Broadway Mouth
July 30, 2009
Thursday, July 23, 2009
Like, Totally Baby Einstein: Broadway Edition
My 3 ½ year-old niece gets carsick. As evidence, she’s gotten sick in my car twice. Recently, I was driving her about two hours from home to a family wedding party. She slept for the first hour, but when she woke up, it was a race against time. My dad and I tried our best to distract her, but when she put her hand up to her mouth, it was a sure sign it was time to stop the car. Three times.
I had a CD of Disney songs in the car, and in an effort to distract her from her pains so we could actually get to the party, I put on her favorite, “Part of Your World” from the movie The Little Mermaid. And when the next song would start, she’s say, “I wanna hear Mermaid again.” I love “Part of Your World” and am, as my dad calls me, the overkill king, but by the end of the trip, even I was a little tired of it.
The next week, I was babysitting my niece on a night when I had a birthday party to go to on a farm about an hour away.
Gulp. I really wanted to walk away that night still loving “Part of Your World.”
I put in my Legally Blonde OBCR. Let me tell you, Legally Blonde soothes the savage stomach. On the way there, she immediately latched onto “Omigod You Guys.” It started with Bruiser barking. She loved barking along with the dog, but after three listens, I could hear her singing along to parts of the song. I skipped ahead to another up-tempo gem, “What You Want,” and because of the repetitive title phrase, even then, she was singing along until she fell asleep.
After the party—a night filled with piglets, goats, a gazillion dogs, and fireworks—we were in the car, ready to head home. She was tired. When she gets tired, she starts to mumble, so I knew she’d be out cold for the ride home. Still, I asked her, “Should we turn on some music?”
She mumbled softly from the backseat, “Bzosmd bdhof “Omigod” dmfn ajdhd.”
And she sang along until she fell asleep. Oh my God, you guys.
the Broadway Mouth
July 23, 2009
I had a CD of Disney songs in the car, and in an effort to distract her from her pains so we could actually get to the party, I put on her favorite, “Part of Your World” from the movie The Little Mermaid. And when the next song would start, she’s say, “I wanna hear Mermaid again.” I love “Part of Your World” and am, as my dad calls me, the overkill king, but by the end of the trip, even I was a little tired of it.
The next week, I was babysitting my niece on a night when I had a birthday party to go to on a farm about an hour away.
Gulp. I really wanted to walk away that night still loving “Part of Your World.”
I put in my Legally Blonde OBCR. Let me tell you, Legally Blonde soothes the savage stomach. On the way there, she immediately latched onto “Omigod You Guys.” It started with Bruiser barking. She loved barking along with the dog, but after three listens, I could hear her singing along to parts of the song. I skipped ahead to another up-tempo gem, “What You Want,” and because of the repetitive title phrase, even then, she was singing along until she fell asleep.
After the party—a night filled with piglets, goats, a gazillion dogs, and fireworks—we were in the car, ready to head home. She was tired. When she gets tired, she starts to mumble, so I knew she’d be out cold for the ride home. Still, I asked her, “Should we turn on some music?”
She mumbled softly from the backseat, “Bzosmd bdhof “Omigod” dmfn ajdhd.”
And she sang along until she fell asleep. Oh my God, you guys.
the Broadway Mouth
July 23, 2009
Tuesday, June 30, 2009
Dog Eat Dog: Crappy Backpack with Souvenir Program
I’m a 32 year old straight man. What the heck do I want with a cheap vinyl/plastic/whatever backpack with Legally Blonde: The Musical written on it? Honestly. What am I supposed to do with it? Tell me. I’m at a loss. I was halfway forced into paying $10 for it, so I at least want to know what I can do with it.
Even if I did want a Legally Blonde: The Musical backpack, what the heck would it hold—tissue paper? I think trying to carry two thick books and a cell phone would be too much stress on the “fabric” of this backpack.
I thought it was preposterous when Disney forced you to shell out $20 to buy a Tarzan souvenir program with a paperish Tarzan tote bag. But at least Disney had the class to make the souvenir program something special—extra thick with beautiful studio photographs of the actors. Even if the show wasn’t too hot, the program was at least worth $15 of the $20 you had to pay.
If you were not aware, the latest trend seems to be—on the road at least—to force anyone who wants to buy a souvenir program to pay $20 to get a program (the same ones that were formerly $10) AND a stupid logo backpack. Make that, a stupid and worthless logo backpack.
I always get the programs because I am a Broadway nut and want to remember the experience. I love looking back on my collection of programs from The Music Man, Aida, Les Miserables and remembering the evening I had. At the same time, when you’ve just dished out $80 for a Broadway tour, you have to be conscious of the price of things. I can’t believe that the average Broadway tour attendee who typically buys a program is going to be dedicated enough to pay extra to get the backpack. Face it, of the thousands of people who pack a touring house every stop, how many of them are really going to walk around with a Legally Blonde: The Musical backpack?
If producers really think people want these backpacks, then they should sell them separately for $10. Until that happens, I think we need to acknowledge what they really are—pieces of crap lobbed onto a popular souvenir item to gouge the audience member even more.
Shame on you, producers (namely Legally Blonde: The Musical and A Chorus Line) for gouging your audience members. I hope it bites you in the butt.
the Broadway Mouth
June 30, 2009
Even if I did want a Legally Blonde: The Musical backpack, what the heck would it hold—tissue paper? I think trying to carry two thick books and a cell phone would be too much stress on the “fabric” of this backpack.
I thought it was preposterous when Disney forced you to shell out $20 to buy a Tarzan souvenir program with a paperish Tarzan tote bag. But at least Disney had the class to make the souvenir program something special—extra thick with beautiful studio photographs of the actors. Even if the show wasn’t too hot, the program was at least worth $15 of the $20 you had to pay.
If you were not aware, the latest trend seems to be—on the road at least—to force anyone who wants to buy a souvenir program to pay $20 to get a program (the same ones that were formerly $10) AND a stupid logo backpack. Make that, a stupid and worthless logo backpack.
I always get the programs because I am a Broadway nut and want to remember the experience. I love looking back on my collection of programs from The Music Man, Aida, Les Miserables and remembering the evening I had. At the same time, when you’ve just dished out $80 for a Broadway tour, you have to be conscious of the price of things. I can’t believe that the average Broadway tour attendee who typically buys a program is going to be dedicated enough to pay extra to get the backpack. Face it, of the thousands of people who pack a touring house every stop, how many of them are really going to walk around with a Legally Blonde: The Musical backpack?
If producers really think people want these backpacks, then they should sell them separately for $10. Until that happens, I think we need to acknowledge what they really are—pieces of crap lobbed onto a popular souvenir item to gouge the audience member even more.
Shame on you, producers (namely Legally Blonde: The Musical and A Chorus Line) for gouging your audience members. I hope it bites you in the butt.
the Broadway Mouth
June 30, 2009
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