SEPTEMBER 2001 ----------------------------In this issue--------------------------------------- Broadway Reacts to the Tragedy The Play's the Thing: Something is Rotten in the State of North Dakota Letter from London: Kent and McDiarmid Resign from the Almeida Voices in Contemporary Theatre: Willis White turns her attention to Rhode Island's Celebration of Women in Playwriting, Full Casting Announced for Hedda Gabler Rubin's Corner: Urinetown the Musical. Really. Called "Better than the Producers" and named Entertainment Weekly's "IT" show. CyberTheatre Monthly -------------------------------------------------------------------------------- BROADWAY REACTS TO THE TRAGEDY Broadway Reacts “The show you are going to see is a comedy, and I couldn’t be happier that it is a comedy,” Landesman said. “I think laughter is a great bonder of people. I don’t think anything could be better in terms of making a statement about what is going on than to attend an event where we can all be together and laugh together.” --Rocco Landesman, one of the producers of “The Producers.” The "just the facts" aspects covered by CNN and other mainstream news was this Shows were cancelled Tuesday and Wednesday, but resumed Thursday at the Mayor's urging for arts institutions like theatres and museums to reopen as soon as possible. The satellite TKTS booth located at the World Trade Center was destroyed, but the sole employee was unharmed. Here are just a few of the fascinating details behind those stoic sentences. Jed Bernstein, president of the League of American Theaters & Producers, spoke of the logistical difficulty ``It was simply not possible to get casts and crews together for Wednesday performances here in the city.'' (The exception was Urinetown, which was scheduled to OPEN Thursday, and thought it best to postpone the official press opening - the rescheduled date is yet to be announced, but it has resumed previews.) When the shows did reopen, Bernstein reported that 60-70% of ticketholders showed up for the performance, a powerful demonstration of a determination to return to normalcy. Sardi's, the ancient pre-show watering hole on West 44th Street, was open again on Thursday, after being closed on Tuesday and Wednesday. But business was slow…"Most of the reservations we had didn't show up, I still sense a lot of fear." Most of the 23 shows on Broadway found artful ways to address uneasiness in the audience and backstage. At 7:30 many of the cast of RENT joined the audience outside in an unplanned candlelight demonstration. At 8 p.m., marquee lights dimmed for two minutes to acknowledge the tragedy. Before the show at the Neil Simon Theater, home to "The Music Man," lead, Robert Sean Leonard, thanked the audience for coming and after the curtain led the cast in "God Bless America." So too did the cast of The Producers, Phantom of the Opera and the Disney musicals - The Lion King, Aida and Beauty and the Beast in what the Times described as "a scene that brought the entire audience to its feet and many to tears." On the set of the Pulitzer Prize-winning drama "Proof," at the Walter Kerr Theater, the stagehands sang "My Country 'Tis of Thee." And at the Henry Miller Theater, where "Urinetown" was to have opened on Thursday but was delayed a week, the cast and audience shared a giant cake intended for the opening night party. Casts and crews have also been making private gestures in tribute to victims of the attack. At the Ford Center for the Performing Arts, stagehands for "42d Street" are placing a ghost light, a bulb that burns all night while the theater is empty, onstage as they leave. Most theater owners asked audience members to check all bags at the door, and police officers stood guard outside many theaters as well. Off-Broadway couldn't follow suit quite so quickly, as 10 Off Broadway productions are housed in theaters below 14th Street along the paths being reserved for rescue efforts and the clearing of debris. Producing theatres in Washington DC were dark, naturally. Most, if not all, national tours cancelled Tuesday performances but resumed Wednesday. And, Chicago, Houston and LA were all dark in a well-intentioned gesture of mourning and respect...HOWEVER (big however)...London theatre has a grand history of keeping it's doors open in defiance in times of adversity and this is no exception... The shows went on, with respectful nods to the situation in America: "At the Lyric Theater," Variety reported " the company of ``Cat on a Hot Tin Roof'' -- including American leads Brendan Fraser and Ned Beatty -- considered canceling the show but decided to go ahead. ``We had a brief discussion about it with the cast and decided that (to cancel) was really caving into terrorism,'' said Tom Siracusa, show's inhouse producer for West End impresario Bill Kenwright." Officials at City Center, on West 55th Street, announced that they would offer free tickets to firefighters, police officers and emergency medical service workers for the entirety of the fall season, which is to include performances by American Ballet Theater, Alvin Ailey American Dance Theater and Ballet Nacional de Cuba. Just as Hollywood decided to shelve the release of two films, "Big Trouble" and "Collateral Damage," involving terrorist attacks, Roundabout Theatre has very wisely decided to postpone a planned November production of Stephen Sondheim's Assassins. The musical's debut at Playwright's Horizons in 1991 was poorly timed, and it never went on to receive a full Broadway production - many theatre-watchers believe it's reception was dampened by patriotism stirred by the Gulf War - but that's not why it's being postponed now. Those who know the show may recall would-be assassin Samuel Byck planed to "drop a 747 on the White House and incinerate Dick Nixon. It's gonna make the news. You're gonna hear about it.'' Similarly, before the reopening of The Tale of the Alergist's Wife, the author did some light editing, modifying a few lines in the comedy that alluded to terrorism -------------------------------------------------------------------------------- THE PLAY'S THE THING Something is Rotten in the State of North Dakota Back by popular demand (okay, maybe only by our demand because we love to amuse ourselves): Top Ten worst casts of all-time for modern plays! Last month Caprice and I tackled the seemingly-difficult job of casting really, really bad Shakespeare shows. This month, since we have little time for an original thought ourselves, we have asked our friends once again to give us their worst casts for modern plays. On the bill for this month: Death of a Salesman, The Glass Menagerie, Waiting for Godot, A Doll’s House, and the number one play suggestion A Streetcar Named Desire (because it’s so easy to do bad Tennessee Williams). We have had some hair-raising suggestions, and with a few added guest appearances from our brains, here they are: Number Ten: Death of a Salesman with Gerard Depardieu as Willy Loman. Not that I’m knocking Gerard—did anyone see Going Places? But, he’s not exactly the epitome of the American bad-father-figure. Number Nine: In keeping with last month’s format, Death of a Salesman again! Just when you thought it couldn’t get any worse: Michael Jackson as Willy. Now that is an American Tragedy. Number Eight: Let’s try our first go-around at bad casting of a Tennessee Williams play. The Glass Menagerie is a beautiful play full of passionate dialogue and poetic imagery…imagery that can only truly be visualized by the languid voice of Adam Sandler ad Tom. Add in his soft and subdued sister Laura played by Courtney Love, his polite friend Jim played by Snoop Dog, and his overbearing mother played by Nathan Lane and you’ve got yourself one hell of a production! Or, is that one production that’s going to hell? Number Seven: The Glass Menagerie as you’ve never seen it before—and perhaps never want to see! How about Drew Carey as Tom and Mimi, and all the splendor of her blue eye shadow, as Amanda? Fran Drescher as Laura creates that perfect high-pitched squeal that breaks The Glass Menagerie. And who do you think could be the gentleman caller to this happy family? No, really, we’re asking, who do you think could be the gentleman caller? Number Six: Waiting for Godot: We started a trend with the last column of including animated characters in our worst-cast scenarios. Why re-invent the wheel? How about Beavis and Butthead in this classic absurd play? Hu hu she said “absurd…” hu hu hu hu… Number Five: Waiting for Godot demands an absurd cast. And how can you get more absurd than Lenny and Squiggy from Laverne and Shirley? Easy, take a look at Number Four… Number Four: In keeping with the Laverne and Shirley theme, how about Penny Marshall as Nora in A Doll’s House? Round that one off with her brother Gary Marshall as Torvald and what a show! Number Three: There are so many possibilities with A Doll’s House, it is hard to choose! What about Jane Fonda as…oops. Number Two: A Streetcar Named Desire was by far the most popular production suggested by our friends who have kindly given us their ideas to fill out this list. The number two worst cast in our Top Ten list this month is the god-like Woody Allen as Stanley, Ru Paul as Stella and the immortal Britney Spears as Blanche DuBois. Oh, what music they will make of Williams’ classic! Insert subtle drum roll here… Number One: There were so many suggestions for A Streetcar Named Desire, we had difficulty picking just two, but this one by far topped all suggestions for any of these plays. Charo and Erik Estrada as Blanche and Stanley. The two allegedly toured in a production of A Streetcar Named Desire in 1995 or 1996. In the words of the recommender, Elizabeth Bennett, former Literary Manager of La Jolla Playhouse: “I don't know if it's true but it's certainly a REALLY bad idea.” Well, there you go boys and girls. There are certainly a number of bad possibilities in the universe. The scariest part is that somewhere, someone out there actually thought some of these were good ideas. As a side note, though we left him from our pages this month, once again the number one suggestion for a bad actor in a play, and we mean many of them, was the gifted Keanu Reeves. Apparently, he is the universal bad actor—can he win an award for that? Let’s hope not…I don’t think anyone wants to hear that acceptance speech…Whoa! Up next for The Play’s the Thing: we are going to be serious for a while! Heaven forbid, because we know you all love our humorous banter (well, okay, we don’t really know that, we just assume you all do because we crack ourselves up all the time—and how can two such amazing minds be wrong?) Though you have all become accustomed to our back-and-forth antics, Rebecca will be taking over for a while as Caprice descends into that familiar pit of despair called committing to two shows at the same time. While Rebecca is at the helm, if you all are really good, she promises to only write about the Scottish play once…maybe. -------------------------------------------------------------------------------- LETTER FROM LONDON Letter from London JONATHAN KENT AND IAN McDIARMID ANNOUNCE THEIR RESIGNATION AS JOINT ARTISTIC DIRECTORS OF THE ALMEIDA THEATRE COMPANY Today, Wednesday 5 September, Jonathan Kent and Ian McDiarmid announce their resignation as Artistic Directors of the Almeida Theatre Company. They will continue their directorship until the Summer of 2002 while the Company continues to produce at its temporary home in King's Cross. It is planned for the Company to return to its refurbished home in Islington during the Winter of 2002. Kent and McDiarmid took over as Artistic Directors of the Almeida in 1990, turning what had been a receiving-house in Islington, North London, into a full-time producing theatre. Under their directorship, as well as producing work at its home base in Islington, the Almeida has produced 15 productions in the West End, including a year-long season at the Albery Theatre, toured nationally and internationally, produced Shakespeare at the Hackney Empire, created two summer seasons in Malvern and transferred 14 productions to New York. Kent and McDiarmid have created three new performance spaces in London - the Gainsborough Studios in Shoreditch, and the Almeida’s current home - a converted coach station in King's Cross - which houses two auditoria. They have presented 15 World Premieres, including work by Edward Albee, David Hare, Neil LaBute, Ellen McLaughlin, Phyllis Nagy, Harold Pinter and Nicholas Wright, and, in addition, have produced 10 annual contemporary opera festivals. The Almeida's community and education programme has broadened its reach, performing in school, colleges and site-specific locations countrywide. Since 1990 the Almeida has received over 45 theatre awards including a Laurence Olivier Award and an Evening Standard Award, both for Outstanding Achievement. Jonathan Kent and Ian McDiarmid said today: “We have been the Almeida’s Artistic Directors since 1990. An inherent truth in any artistic pursuit of this nature is that it cannot last forever. To have created, along with many others, a theatre of vision and commitment has been entirely rewarding, but we believe now is the time to go.” “We have tried to create an environment in which artists are able to do their best work, a way of working that has encouraged people to aspire, where the phrase ‘that’s impossible’ has been replaced by ‘there must be a way’. This has always been a high-risk, yet considered strategy, and one which we hope will continue.” “Our aim has always been to make theatre a more exciting place to be.” “The re-opened Almeida Theatre will be architecturally and financially stronger, enabling a different sensibility to take it in a new direction.” Garry Hart, Almeida Chairman said today: "The Board is extremely proud of the Artistic achievement of the Almeida Theatre since 1990 under the leadership of Jonathan Kent and Ian McDiarmid and they pay tribute to their extraordinary work over this period and wish them well for the future." "The Board is determined that the re-opening of the refurbished Almeida should be marked by the choice of a successor who will be able to bring to their work the same artistic distinction, creativity and vitality and they know that as they embark upon this process they have the whole-hearted support of Jonathan Kent and Ian McDiarmid." JONATHAN KENT For the Almeida Theatre he has directed Ibsen’s When We Dead Waken, Dryden’s All For Love, Euripides’ Medea (also West End and Broadway), Anthony Burgess’ new version of Griboyedov’s Chatsky, Bernhard’s The Showman, Moliere’s The School for Wives, Louis Mellis and David Scinto’s Gangster No.1, Moliere’s Tartuffe, David Hare’s versions of The Life of Galileo, The Rules of the Game and Ivanov, John Byrne’s version of Gogol’s The Government Inspector, Nicholas Wright’s version of Pirandello’s Naked (which transferred to The Playhouse) and The Tempest. His production of Lulu opened the Almeida at King’s Cross season and visited the Kennedy Center in Washington DC earlier this year. Jonathan Kent directed Richard II and Coriolanus at Gainsborough Studios. The two productions, which played in repertoire, toured to the Brooklyn Academy of Music, New York and Akasaka Theatre, Toyko. His productions of Racine’s tragedies, Phedre in a new version by Ted Hughes, and Britannicus in a new version by Robert David MacDonald opened the Almeida’s season at the Albery Theatre, before touring to the Brooklyn Academy of Music. His production of David Hare’s Plenty completed the Almeida's season at the Albery in July 1999. His other theatre credits include Le Cid and Mother Courage and Her Children for the Royal National Theatre, and the Almeida’s production of Hamlet, which opened at the Hackney Empire before transferring to Broadway. His most recent production, David Hare's new adaptation of Chekhov's Platonov, is currently playing at the Almeida at King's Cross (press night 11 September). In November he directs Brian Friel's Faith Healer followed by Shakespeare's King Lear in January 2002. IAN McDIARMID For the Almeida Ian McDiarmid has directed Scenes From An Execution, The Rehearsal (also West End), Lulu, A Hard Heart, Venice Preserv’d and the opera Siren Song. His Almeida acting roles include the title role in Volpone, Goya in the Nigel Osborne/Howard Barker opera Terrible Mouth, Arnolphe in The School for Wives, Orgon in Tartuffe, Count Cenci in The Cenci, Colenso Ridgeon in The Doctor’s Dilemma, Barabas in Marlowe's The Jew of Malta, and most recently Prospero in The Tempest. He was an Associate Director at The Royal Exchange Theatre, Manchester, where he played the title role in Edward II, Philip II in Don Carlos and directed Moliere's Don Juan. He was Bradley Pearson in Iris Murdoch's The Black Prince at the Aldwych Theatre, and has played leading roles at the Royal Shakespeare Company, The Royal National Theatre and The Royal Court, where he won the Society of West End Theatre’s Best Actor Award for his performance as Einstein in Insignificance. He has appeared at the Royal Opera House, Covent Garden and with the London Symphony Orchestra. His many films include Return of the Jedi, Gorky Park, Dirty Rotten Scoundrels, Hillsborough, Great Expectations, Star Wars Episode I: The Phantom Menace, All The King's Men, Sleepy Hollow, and the forthcoming Crime and Punishment for the BBC and Star Wars, Episode 2. In November he will play Teddy in Jonathan Kent's production of Faith Healer at the Almeida at King's Cross. For the full Almeida schedule go to www.almeida.co.uk -------------------------------------------------------------------------------- VOICES IN CONTEMPORARY THEATRE Award-winning Theatre Dedicates 2001-2002 Season to The Celebration of Women in Playwriting Hailed as "the most professional small theater in Rhode Island" Perishable Theatre, located in Providence, Rhode Island, is entering into its 19th season. This award-winning organization has dedicated their 2001-2002 season to the Celebration of Women in Playwriting. In conjunction with the 10th Anniversary of their International Women’s Playwriting Festival, Perishable is bringing to Rhode Island five world premiere works from some of the nation's most innovative female playwrights. Self Defense or death of some salesmen by Carson Kreitzer, directed by Vanessa Gilbert World premiere! Former Women’s Playwriting Festival winner Carson Kreitzer’s gripping fictionalized account of the pursuit, capture and trial of Aileen Wuornos, who became known as the first female serial killer. Self Defense is the final installment of playwright Kreitzer's "Women Who Kill" triptych. The story examines brutal colliding questions of sexism, classism, and justice as it plunges us into some of the darkest waters of the American psyche. This world premiere production features NYC based actress Lynne McCollough (who has portrayed the leads in all of Carson Kreitzer's "Women Who Kill" plays) and will be directed by Associate Artistic Director Vanessa Gilbert, who directed last Season's well received The Year of The Baby. Playwright Carson Kreitzer is a former winner of Perishable Theatre's International Playwriting Festival for her short play Dead Wait and was more recently awarded a Jerome Fellowship. Self Defense or death of some salesmen will run from Nov 3 - Dec 2, 2001. THE FRENCH REVOLUTION: PART DEUX (a new jersey play) By Emily Jane O’Dell World premiere! What would happen if the entire city of Paris were literally uprooted and dropped upon the state of New Jersey? Brown graduate Emily Jane O’Dell’s ambitious social and cultural satire examines American prejudices and proclivities with hilarious results. Think of the zoning code violations...Cigarette smoking...Illegal immigration...Wine drinking! A living museum of Parisian attractions...Lovers rent from one another...Families torn apart...Sensual French hedonists disrupting quiet suburban life and shamelessly thwarting Middle Class American Values! Playwright Emily Jane O'Dell is a New Jersey native and a 2001 graduate of Brown University. This world premier will be on stage from February 16-March 17, 2002. 10th Annual International Women’s Playwriting Festival Three world premieres! Perishable's global competition of one-act plays by women celebrates its 10th Anniversary of "offering new, interesting writing and fine performances each year" (Barrington Times). The Festival includes a gallery exhibit and post show discussions with the playwrights. The festival runs May 11 - June 9, 2002. Perishable's Stage 2 Season The presenting arm of Perishable, Stage 2 is dedicated to bringing some of the most acclaimed performance artists, musicians and performers from around the world to local audiences. Past performers include Philip Glass, Karen Finley, Diamanda Galas, The Henson International Puppetry Festival, and Lisa Kron. Ongoing events ensure that there is an active venue for artists developing their craft in experimental areas such as puppetry, playwriting and improvisational comedy. ANN MAGNUSON: Rave Mom a work-in-progress written and performed by Ann Magnuson Directed by David Schweizer NY based Ann Magnuson is known nationally for her work as a performance artist, comedic film & TV actress magazine columnist, and musician. Rave Mom follows the adventures of a been-there, done-that, thought-she-had-it-all-under-control single woman who falls down the rabbit hole when she does ecstasy for the first time at a Marilyn Manson concert in Las Vegas on New Year's Eve. This special preview engagement of ANN MAGNUSON: Rave Mom is a co-production with PS122, NYC and runs for one week only! September 25-29, 2001. Bradshaw’s Shadows by Richard Bradshaw Australia’s world renowned shadow puppeteer brings his unique brand of storytelling to Providence. Bring the kids for an extraordinary evening of puppetry and highly charged visual storytelling. this performance runs for one week only from October 2-7, 2001. Shooter written and performed by Miriam Silverman School shootings have become an all too familiar aspect of the American landscape. This emotional one woman show tells the tale of a small town struggling to put together the pieces after this tragedy occurs in their community. Shooter runs from January 8-20, 2002 *** FULL CASTING ANNOUNCED FOR NEW ADAPTATION OF HEDDA GABLER PRODUCTION STARS KATE BURTON, HARRIS YULIN, MICHAEL EMERSON, DAVID LANSBURY, JENNIFER VAN DYCK, MARIA CELLARIO AND ANGELA THORNTON Full casting has been announced for the Broadway production of Henrik Ibsen's Hedda Gabler. The production stars Kate Burton, Harris Yulin, Michael Emerson, David Lansbury, Jennifer Van Dyck, Maria Cellario and Angela Thornton. The production features a new adaptation by Jon Robin Baitz and is directed by Nicholas Martin. Hedda Gabler opens Thursday, October 4th at the Ambassador Theatre (219 West 49th Street, between Broadway and 8th Avenue). Previews begin Wednesday, September 19th. This staging of Hedda Gabler had its premiere at the Williamstown Theatre Festival and Bay Street Theatre during Summer, 2000. It was staged again last winter at the Huntington Theatre, where Ben Brantley, The New York Times, wrote: Kate Burton is giving one of those rare benchmark performances that redefine both a classic character and an actress. [Burton] demystifies one of the most formidable heroines of Western drama without sacrificing a shred of the characters fascination...and has shaped this character with wit, empathy and a remarkable lack of vanity. Henrik Ibsens Hedda Gabler debuted in 1890, and the work remains controversial and the subject of scholarly debate. Ibsen's Hedda has been seen as a modern woman trapped by the conventions and limitations of women's roles in Victorian society. The production stars Kate Burton (Hedda Tesman), Harris Yulin (Judge Brack), Michael Emerson (George Tesman), David Lansbury (Eilert Lovborg), Jennifer Van Dyck (Mrs. Elvsted), Maria Cellario (Berta) and Angela Thornton (Juliana Tesman). In Hedda Gabler, the newly-wed Hedda Tesman finds herself bored with married life to her scholar husband, George Tesman. As the daughter of General Gabler, she had grown accustomed to the freedom and exciting social world of her father's home. When her rival, Mrs. Elvsted, reenters her life with Heddas former lover, Eilert Lovberg in tow, Hedda sets out on a shocking path of destruction that affects the lives of everyone around her. Tickets ($70-$30) are available by calling TeleCharge at 212-239-6200. Performances are Tuesday through Saturday at 8:00, with matinees Wednesday and Saturday at 2:00 PM and Sunday at 3:00 PM. -------------------------------------------------------------------------------- RUBIN'S CORNER Urinetown, the Musical "Like everyone else who first heard of a show called 'URINETOWN, The Musical' I made a face and expressed disgust at the title?.I had the time of my life. 'URINETOWN' is one of the cleverest, most adroit, funniest and irreverent evenings I've spent in a long season." -Liz Smith Urinetown, the musical, not the town opened in early September at the Henry Miller Theatre, which is considered a Broadway house due to its enlarge seating capacity. The musical opens with the entrance of Officer Lockstock, a though-talking beat cop who doubles as the play’s narrator. Apologizing for the fact that the show opens with too much exposition, Lockstock explains how a terrible water shortage has crippled the Gothic-like city he serves, forcing the government to outlaw practices which might otherwise be considered a precious resources. With the help of the street urchin, Little Sally, Lockstock goes on to explain that to conserve water, the citizenry must now use the public, pay-per-use-amenities, operated by the Urine Be Good Company. This one joke musical premiered on May 6, 2001, and throughout its long march toward that fateful day was blessed to have the genius of John Carrata’s choreography, Bruce Coughlin’s orchestrations, Scott Pask’s set design Brian MacDevitt’s light design, Kai Brothers’ production management and John Miller’s music coordination. The music and lyrics are by Mark Huffmann and the book and lyrics are by Greg Kotis. The production is basically a one joke musical that will leave you lying on the floor with laughter. The excellent cast features the return to Broadway star John Cullum, the two time Tony award winner actors. It also features Nancy Opal in her show stopping number called, “It is a Privilege to Pee”. The musical is a put-on of all Broadway musical love stories. The entire production was directed by Broadway veteran John Rando. If you cannot get tickets for “The Producers” for the next year you can buy tickets to this show and satisfy you need to laugh. However, you better hurry. If you spent a week in Urinetown and then visit Bat Boy, the musical you will have one of the most original theater experiences available this year on Broadway. --- On September 9, 2001 at 12:00pm, Broadway celebrated the start of it's 2001-2002 theatrical season with BROADWAY ON BROADWAY, a free concert in the heart of Times Square. Performaners included Idina Menzel and the female ensemble of AIDA performing Strongest Suit, the cast of BLAST!, cast members of 42ND STREET singing Lullaby of Broadway, Burke Moses and Carolee Carmello of KISS ME, KATE, Rebecca Luker of THE MUSIC MAN singing My White Night and Hunter Forest and the cast of URINETOWN performing Run Freedom Run. Brooke Shields, now starring in the Broadway revival of CABARET, hosted, and presenters included Valerie Harper, Tony Roberts and Michele Lee of THE TALE OF THE ALLERGIST S WIFE and Kate Burton of the upcoming revival of HEDDA GABLER. -------------------------------------------------------------------------------- CYBERTHEATRE MONTHLY Sh-K-Boom Records www.sh-k-boom.com A record label dedicated to bridging the gap between pop music and theatre. Sh-K-Boom has also produced and released the debut solo albums of ALICE RIPLEY of Rocky Horror, ADAM PASCAL and SHERIE RENE SCOTT both of Rent and Aida. --------------------------------------------------------------------------------- Copyright 2001, Mersinger Theatrical Services