So here is the first trailer of Andrew Lloyd Webber’s Stephen Ward musical, which is set to open in December.
Naturally, I have some concerns. After the rather ghastly fate of Love Never Dies, I feel that it might be much too soon for him to write a new musical, let alone about a subject quite as unmarketable. Instead of jugging out a fresh new musical, which is probably going to open to mixed reviews, close for about two weeks for a full make-over, and re-open to slightly better reviews (a la Sunset Boulevard, Woman in White and Love Never Dies), I’d rather Andrew Lloyd Webber spend more time working on the content of this show, perfecting it, and heaven forbid, workshopping it instead of presenting it to a bunch of tipsy Tories at Sydmonton.
The trailer released by RUG comes unusually early, which is a great initiative taken by the producers to ensure sufficient pre-opening buzz. Unusually at this stage, however, is the finished recording of a very strange song that is reminiscent of Evita‘s “The Actress Hasn’t Learned the Lines (You’d Like To Hear)”. Just listen:
For those too young to remember, or simply unaware of the incident (in both cases, me), I am including two links to a Discovery Channel documentary about spies that sheds some light on the scandal. Interestingly, the story could have potential as it has drama, deception and depauchary. At one point in the documentary, the cast of characters (mainly male) becomes rather confusing, but with all of them playing a major role in the plot, I would be interested in finding out who would make the final casting cut. Alex Hanson has been known to be a runner up, but nothing has been confirmed, especially since he is also the ideal choice to play the Simon Cowell character in X-Factor, The Musical.
Despite a so far horrid 2nd season of Smash (all is forgiven, Theresa Rebeck! Come back!), things are starting to pick up and especially during the last two episodes. Bombshell, the imagined Marilyn Monroemusical that the entire series used to be about, finally opens on Broadway.
Due to some previously unseen twist of events, Ms. Ivy Lynn, always the chorus girl and never the lead, is finally starring as the blonde bombshell. What got me excited during this “Opening Night” episode is the fact that they have decided to include a full performance of Season 1’s smash finale (NPI!), “Don’t Forget Me”, as inserted in the last hour or so for Karen (Katharine McPhee) to sing during the “previews” in Boston.
“Don’t Forget Me” must have been one of my favorite numbers; I watched it over and over again and listened to it, seriously loving the way it builds and the story it tells. After “Let Me Be Your Star”, it was the most thrilling number to listen and watch, and was the perfect end to the season.
Suffice to say, nothing brings me more joy but to compare the two versions and the two Norma Jean’s in Smash.
I have to say that, as quite astonished as I am with my own feelings, I find Karen’s version a lot more appealing than Hilty’s. While Karen’s version is over-produced, I feel that it has a bigger finish and a more gradual build up. I think I might also prefer it due to the fact that she premiered it last season. Megan Ivy Lynn Hilty’s version, really only picks up at the end, and her vocals aren’t as smooth as her predecessor’s. Having said that, they might have done this for the very same reason, and not to over stage McPhee’s original interpretation.
I leave you with both versions to judge for yourselves.
I have recently seen every single Bodyguard understudy that my understudy hungry heart desired. Let’s just say that I have a thing for understudies. I won’t get into why, because many have written about how theatre fanatics fetishise understudies and seek their performances. That’s could be because we choose to cheer for the underdog, or support an actors/ress who is equally as talented as the first cast (and sometimes better). In some cases, we theatremaniacs are simply craving to see yet another interpretation of a certain role, and absolutely cannot wait until the next cast change.
It is especially challenging for me, as someone who does not reside in the UK, New York or any theatrically active country or city to catch these part-time interpreters of the theatre. So without further ado, let me get into it with a quick executive summary of actors and blacktresses.
Oliver de Sueur as Frank Farmer (25 & 30m March 2013)
I was planning to see Bodyguard during this week at any rate, since it was my first time back to London since January. Lloyd Owen has been scheduled to take the full week off, so it made it even better than Oliver was on. His Frank is slightly more softer spoken and less assertive than Frank’s. For someone who recently just went on for the first time about two weeks prior, Oliver is quite comfortable and made Frank quite his own. His final scene was particularly more touching, as you can see how Frank has fallen for Rachel. While Lloyd Owen keeps it in and remains strong and stoic, Oliver’s Frank wears his emotions on his sleeve by the end of the play, quite open about how hurt he is. Interestingly on my first outing, he wore a black shirt during “All The Man I Need”, while on the second visit, he was lying asleep without the shirt on. Perhaps he forgot to wax his back and the stage manager made him wear a shirt to cover that shit up?
Gloria Onitiri as Rachel Marron (25 March 2013)
I don’t think anyone has not seen the fabulous, statuesque Ms. Onitiri, or as I like to call her, the Gruntress. Gloria is incredibly tall and glamorous, and has a poise of a true superstar. That is not to mention pipes made out of steel and legs that reach to the skies. She is quite fierce, and grunts and groans like a young Tina Turner (thus the title, The Gruntress). The grunts that I am absolutely obsessed with are her “stay in my arms if you dare” (“I Have Nothing”), “noooo, but if I come to you” (“Run To You”), “more love more love more love ” (“All the Man That I Need”) and “love you” (from “I Will Always Love You” right before the musical bridge). Her Rachel is kinder, truly vulnerable and soft-spoken. She is truly as Bill described, “nothing but a frightened girl” who seeks protection and love. This is my third time seeing Gloria, and she continues to grow and shine in this role more than ever. While she is technically the alternate and standby Rachel, I don’t understand why she is in the ensemble during Heather’s shows. Technically, girl should be off, okay? I hope you’re paying her double.
Shanay Holmes as Rachel Marron (30 March 2013 matinee)
Do you know how hard it is to get to see a 3rd or 4th understudy? I was lucky enough to have seen Janet Kumah back in January, which I thought was an unlikely miracle. As far as I know, Shanay went on once in February. During this week, Gloria Onitiri has taken the entire week off on vocal rest (and gone to Belgium-yes I’m a stalker), and Heather was back on. Shanay did the matinée on Wednesday, which I unfortunately had to miss because of a meeting with Dewynters. So upset as I was, I tweeted at her and she replied saying that she would be back on Saturday. Happy me. So I go to the box office on Saturday, and my heart sank a little when I saw the notice saying Gloria Onitiri will be on for this performance. So I inquire, and the wonderful French lady at the box office says that they haven’t been told formally, but she did hear about Shanay going on. She asked for my number, and said that she would confirm. I bought my ticket anyway, because time and time again I proved that I was more informed than the box office. Plus, Twitter doesn’t like, right? She called me about 30 minutes later confirming it was Ms. Holmes going on today. And I saved their precious number, so I can inquire with the box office in the future.
Even before seeing Shanay(nay), I knew she was a rather interesting choice because she simply does not have any Rachel qualities. She is very young, and simply, well, does not resemble Whitney’s Rachel enough to tackle the part. Not to mention that although she has a beautiful voice, it is not quite as strong as necessary. There was a small line flub during “Queen of the Night” and “I Have Nothing”, but I thought to myself that she did rather well. If Heather’s Rachel is more like Beyoncé, then Shanay’s Rachel is more like Rihanna. Her voice is sweet, but not strong. Her Rachel is quite likeable, but is simply not a fascinating strong and independent mother type. Her motherhood here is even more bizarre, with her being so young herself. Sure, there are young single mothers, but this just did not add up considering that Fletcher is about 10. Her relationship with Nicki is even stranger here, as Debbie Kurup is noticeably older than her. Luckily, Oliver Le Sueur was on as Frank, whose age is a much better match to Shanay’s than Lloyd Owen, I’d imagine.
I feel that a lot of effort is spent with second covers to get the blocking right and to hit the spots, but not necessary to rehearse the actual text or material. They are expected to simply get the technical elements right: know your spot, know your lines, be able to sing the song, and let’s call it a day. It seems more like a “learn on the job” kind of training, rather than rehearsal training. With Shanay’s case, I feel that there has been some considerable amount of work done with the music as she seemed rather comfortable singing most of the songs, sans the very big ones which require major amplification and belt. However, I think she has a few solid performances ahead of her if she had more rehearsal and performance time as Rachel.
I think some of her friends must have been in the audience. They simply could not control themselves during “I Will Always Love You”. Right before the big key change, some boy a few rows back yelled out, “Sang!”
Janet Kumah as Nicki Marron (5 April 2013)
At this point, Debbie Kurup is the only lead character who has never missed a show in all of my eight outings. So I was rather excited that I was going to see Janet Kumah take over Nicki, as Debbie was off for the entire week. I have previously seen Janet as Rachel in January, and although I thought she had a nice voice, I felt her voice was not able to hack Rachel’s vocal requirements. I also think that her Rachel was quite charmless and dull, which is a quality that could work rather well as a Nicki. While Janet provided a very solid, borderline flawless performance, it just made me realize how excellent Debbie Kurup is in the role, and how seriously deserving she is as a Olivier nominee. Nicki’s character could easily be marginalized and deemed unimportant if allowed, and yet Debbie manages to make her rather interesting and nuanced. Janet on the other hand, and especially by comparison, gives us a rather boring Nicki. She certainly did not muster Nicki’s emotional downfall in Act 2, and how humiliating her behavior becomes as she slowly and completely looses Frank to Rachel.
Heather Headley (5 April 2013)
What you sayin’, she ain’t no understudy! Yes, you’re right, but I simply cannot not mention her. I was glad that she was finally on for my final night in London and also my final Bodyguard outing (during that trip!). Yes, she has a track record for very frequent absences. But here are the facts. She’s in her late 30s, a mom, and sings just about every single song in this crazy score, goes through a serious emotional journey (have you seen her tears after Nicki dies? They for real! And she chugs them out every night!). I also hear that she simply will not go on if she cannot hit the highest notes in the show, which she only discovers during her warm ups. So for that, I have full respect for the woman. She does not compromise folks, and will not give a luke warm performance.
What can I say? No performance she gives is identical. Her Rachel is simply on alert all the time. When she is angry, she angry and her eyes are wide open and about to pop out of their sockets. When she’s funny, she’s really funny and sassy. When she’s sad, she cries buckets. You can tell how much she enjoys it, and even hams it up during the fight scene in the kitchen. She mutters underneath her breath, “oh he must really think I’m afraid of him” after Frank asks everyone to leave, which wasn’t even picked up by the mics. When Frank finally obliges and tells Tony to take Rachel to the stage for the concert at the nightclub, she suddenly tilts her head towards Frank and gives him a “now that’s what I’m talking about”. At the karaoke bar scene, she really starts goofing around and having fun, which makes the scene even more charming and enduring. Heather Headley, ladies and gents, is simply mesmerizing.
I was rather excited that I was in the UK to watch Andrew Lloyd Webber’s 40 Musical Years (in Showbiz) ITV special. And here I am thinking that it would be a classy, well produced affair like his 50th birthday celebration, like the one done at the Royal Albert Hall. It turned out to be a cheesy TV studio affair a la his tacky reality TV casting shows.
I was able to judge the quality of the entire ordeal by the first few minutes, but decided to stick around to catch Heather Headley singing “Memory”. That made me sit through a Kimberley Walsh and Denise Van Outen’s duet version of “Take That Look Off Your Face” from Song & Dance/Tell Me On a Sunday. You know what, the concept ain’t so bad and the arrangements not so horrible, but the execution? Not so great. Moving on. What irked me most was that when Trevor Nunn and John Napier came on, they were credited as Director/Designer (respectively) for Cats and Aspects of Love. Hello and goodnight! What about Sunset Boulevard, my all time favorite Andrew Lloyd Webber show?! Rude!
And finally, we were introduced to Ms. Headley, who I think really likes to wear red dresses on these big gala shows (please refer to her Royal Variety Performance of “I Will Always Love You” decked in red). I love Heather Headley, and though I did appreciate this version, I feel that she was performing it as Princess Aida starring as Rachel Marron in The Bodyguard. It just seems too close to home to her Bodyguard performances and mannerism, which borderlines the freaky. Having said that, she redeems herself with (skinny) arms flung wide and mouth wide open on the big ol’ “Touch Me..It’s So Easy to Leave Me” change of key in one of musical theatre’s most iconic numbers. In fact, there were times when I thought she even embodied Grizabella, the Glamour Cat very well, as a befallen star who has come oh so low since her fabulous day in the chick upper circles of cat world. For those of you not in the know, Grizabella was a glamour cat in the feline world. She was so fabu and got together with a couple of baddy cats, did some meth, was shunned by the Jellicle Cats clan. She finally got her stuff together and did rehab, but was still rejected by her tribe. Luckily, gurl can sang, and she touches their kitty hearts to a point where they nominate her to go to kitty heaven.
Interesting for only theatre geeks, the version they have used in this concert features Jemima’s harmony as it appears in the stage version (“Sunshine through the trees in summer, early masquerading”), instead of the the straightforward solo. Unfortunately, the girl supporting Heather is really no match to her vocal chops.
One other interesting addition was that the visual elements in this staging resembled Phantom‘s (or Love Never Dies, maybe?) with mirrors surrounding the singer, and finally Jemima appearing and disappearing behind the mirror. Tres bizarre, I tell you. Even my cousin, who is far from a musical theatre fan, said, “Is this supposed to be Phantom?”.
This awards show has been reduced to a pageant of superstar popularity instead of objective judgement on show’s and performers’ merits. While I consider them very talented in their own right and completely understand their success and popularity, Michael Ball (Best Actor in a Musical), Imelda Staunton (Best Actress in a Musical), Tim Minchin (Best Supporting Actor in a Musical) and Melanie C (Best Supporting Actress in a musical), are rather unoriginal and uninspired.
The recent Chichester/Adelphi Sweeney Todd was the toast of the town for many months, and all for a good reason. It was cleverly transported into the industrial age while retaining a grandiose sound, thanks to the full orchestra and to Michael Ball’s voice and stage presence. Imelda Staunton as Mrs. Lovett was quite charming, though hamming it up many times, but vocally quite inapt and short of breath on many occasions The fact that it is strongly rumored she will be taking on Rose in Gypsy anytime in the next two years is a frightening thought.
I haven’t seen the recent Jesus Christ Superstar arena tour, however from the clips I’ve seen, it seems that it cleverly adapted into the Occupy Wall Street era. Tim Minchin is quite impressive and can sing those ridiculously high notes, and Melanie C’s roughness works quite well with this production’s gritty approach.
This brings me back to Whatsonstage.com Awards, that offer a platform for mad fans out there to vote for their favorite performers and the shows they are in. Actors and actresses who are competing against the major stars in these productions are doomed by not having enough of a fan base that can compete with the sheer mass popularity of Michael Ball, his co-star, Melanie C and Tim Minchin.
Let’s see what the Lawrence Olivier Awards have to offer.
So..Here we are. Premium seats for Heather Headley’s farewell performance in my current favourite musical, The Bodyguard. We will be there, laughing, crying, giving an ovation during the key change of “I Will Always Love You” and shaking our booty at “I Wanna Dance With Somebody”.
But the question that is making me lose some serious sleep, night after night, nap after nap, is…What brave blacktress is best to replace La Headley?
There are rumors that Alexandra Burke (X-Factor) is stepping in. I’m not against her at all, I think she has a pretty good voice and a suitable career to come across as a believable pop princess, but I’m not sure about her acting capabilities.
I think if anyone has a background comparable to Headley’s-both theatrically, acting and a success in a crossover pop career, it’s Jennifer Hudson. She is currently guest starring regularly in season 2 of Smash, and has done Dreamgirls, won the Oscar for best supporting actress, and has done a Hair benefit concert some years ago. She sang “I Will Always Love You” at various occassions, and also sang “I’m Here” and dedicated it to Oprah Winfrey. So we know she’s into musicals. We also know she can act, and she can certainly sang.
I think she’d be a fantastic replacement, and would be able to make the character and songs her own. Thoughts?
Listen, I loved Season 1 of Smash. It was all about Broadway, with some drama in the middle. You really got to see a very simplistic be it maybe not very realistic way, of how a Broadway musical gets to be. A lot of the music was so-so, but some of the original compositions were really fun. “Let Me Be Your Star” was sung in every possible incarnation possible in every show, and the cameos were really good. It’s fluff, and at times wasn’t the best, but for theatre fans it’s pretty cool.
I used to say that when I saw the first season. Until the second season came, which is unbelievably hard to watch, and trust me, I have low and very forgiving standards.
I’ll discuss the 2nd season briefly without giving any spoilers. It’s more contrived, the songs in the premiere was shoe-horned in and just dragged on. Only positive so far is Ivy’s new song called “They Just Keep Moving The Line”. It is basically “Maybe This Time” (Cabaret) meets “You Can Always Count on Me” (City of Angels) meets “I’m Still Here” (Follies). Very unoriginal, but an extreme belt-fest and a pleaser.
Jeremy Jordan looks weird. While he’s usually hyped up to be the new hunk of Broadway (sure he’s attractive but not THAT hot), I feel that his head is much bigger than his body on TV. Jennifer Hudson screams rather than sings her way through a very generic watch-out-I’m-going-to-sass-you-to-death number. And..Is Julia pregnant or did she just gain weight? What the heck, there’s no mention of what happened during the finale.
I first heard of Betty Buckley in 1994 in Sunset Boulevard. That was also one of my first memories of a true theatrical orgasm. I nearly died of joy when that spotlight hit her on Norma’s return to Paramount, and the music soars into “With One Look” as Norma soaks in the light and walks center stage to segue into her aria.
Looking at my souvenir program back in ’94 (which I still own and treasure), I saw that the my Norma that night was Betty Buckley. I had no idea who she was. Back then my only Cats cast recording was the London (Elaine Paige! Eventually replacing Buckley). The years passed, and my obsession with Sunset grew, and luckily I was introduced to Betty Buckley’s rich and exciting career in musical theatre, fiercely chastising her daughter in Carrie, her Tony award winning portrayal of Grizabella in Cats, and Drood.
I’m ever so exciting that almost two decades later, I get to see her again in London, playing yet another eccentric character in a musical. The notices about her acting and singing Dear World have been fantastic so far. Can’t wait to see it and report back.
The Seat Snob 