Zero Patience

"Tell the story. Clear my name.
Why do they need someone to blame?"
~ Zero Patience

Gaétan Dugas, a French-Canadian flight attendant, was falsely accused of spreading the AIDS virus across America. He was dubbed "Patient Zero." Evidence was found to clear his name but the myth persisted for years after. John Grayson's musical sends Zero's ghost on a journey to prove his innocence, debunking other myths about the virus along the way. The film is angry, funny, sexy and bittersweet. It's strange to watch now as it came at a time when people were still in crisis and much about the virus was still unknown. The film is hard to track down but clips are floating around. You can read a spoiler filled recap here.

Aspects of Love

"We... we sleep with everyone.
One by one and two by two.
And if you're in the audience
then you'll sleep too."
~ Forbidden Broadway

"Though ''Aspects of Love'' purports to deal with romance in many naughty guises - from rampant promiscuity to cradle-snatching, lesbianism and incest - it generates about as much heated passion as a visit to the bank."
~ Frank Rich, New York Times

Webber's Aspects of Love is not as romantic as it thinks it is. The May-December country house romance drew unfavorable comparisons to Stephen Sondheim's A Little Night Music. Sondheim's lovers know they're in a bittersweet comedy. Webber's bores take themselves so seriously that the plot turns to camp. They vow "love will never let you be the same" while repeating the same toxic patterns. The leading lady jerks three lovers around till their attentions turn to an underage girl. Then she sings an angry anthem, "Anything But Lonely," vowing to round up someone new "who'll say how good [she] looks each day." Send in the clowns indeed.

Once On This Island

Promises, Promises, The Fantasticks and Once on this Island fall into the category of romances with pretty songs and ugly stories. Ti Moune's story is told with such glee that it's easy to forget it's a tragedy. The Gods attempts to grant her wishes are comically inept and the gentleman she wants is a garbage person. They are less Romeo and Juliet than Jason and Medea. Still "Mama Will Provide" is a fabulous song.

Gee I really should have saved this series till Valentine's Day. I'll get to Christmas shows eventually.

The Drowsy Chaperone

Molina has the Spider Woman. Trevor has Diana Ross. The Man in the Chair has Janet Van de Graaff. Each glamorous muse welcomes you to forget your troubles.

What are the Man in the Chair's troubles? He never says outright though he admits he's "feeling a little blue." He's been married and divorced. He reads as gay (Well, not so much when Bob Saget played him) but denies it. ("I'm a very complicated person.") Now he's a recluse.

Why is The Drowsy Chaperone his favorite musical? He claims it's just "fun." And it is. Janet retires from the stage to marry Robert. Her former producer wants her back. Fidelity is tested and Janet's alcoholic drowsy Chaperone foils the producers schemes. One deus ex machina later we have a happy ending.

Purists have griped that the score sounds more 50's than 20's, particularly in Janet's homage to "Rose's Turn," while others have dismissed the show as mindless fluff. Those of us who like a darkness for flavor can see the Man in the Chair's fate as a sad one. But at the end of the day The Drowsy Chaperone remains fun. It also won Beth Leavel a Tony and provided Sutton Foster with one of her best numbers.

Kiss of the Spider Woman

This show isn't great but at times it's very good. If you're familiar with the novel the very idea of adapting this into a musical sounds silly. To the show's credit it dances the fine line for most of the run time.

The seduction of the straight cell mate is a touchy subject for many. In the book this is an act of vulnerable affection. ("You are the one who is kind.") In the musical it is a cynical manipulation. ("If we touch before he goes he'll make that call.")  Which is more believable? You decide.

The Spider Woman, Aurora, is Molina's muse. Her tunes provide comical commentary on a dark story in a manner similar to the Emcee in Cabaret though her films are much cheerier than the propaganda film in the novel. Two performances were recorded: Chita Rivera's and Vanessa Williams'. I've heard it said that Chita plays a gay man's fantasy and Vanessa plays a straight man's fantasy. Simplistic but funny. Chita brings out the scary gravitas of the character. She's there to kill. Vanessa brings out the sex appeal and the comedy. She's there to party.

Marie Christine

If you've heard of Medea you know what she did. The question of any adaptation is why. The cast album did not make this clear to me. Audra MacDonald's Marie sounds remarkably self-possessed, boasts of her magic powers and is clearly too good for Dante Keyes. The libretto told me more.

In Marie Christine LaChuisa spends time developing the world Marie is fleeing from. Act One's Louisiana is no more home to her than Act Two's Chicago. Her magic is questionable as well. She boasts of her power to seduce men but uses her magic to manipulate and murder other women. She has no biscuit or ribbon to hold on to Dante. Her obsession with Dante becomes a fatal flaw. She "will not let go" and she cannot change enough to fit the new life he leaves her in. 

Children complicate the matter. If she simply fled with them she'd have no means to support them. If she left them to Dante they'd become servants. Perhaps that would have been better but she'll never know. 

Hello Again

If La Ronde was a play about class then Hello Again is a musical about loneliness. Both stories feature a daisy chain of hook ups but neither has much to say about sex. In a sense that's the point. The sex in Hello Again is rarely for love or pleasure. It's a tool to gain something from a partner; financial support, a career boost or a sense of feeling "safe."

The scenarios are flexible enough to allow for literal or fantastical staging. The 2017 film version includes a lovely mix of both. The roles are juicy enough to showcase stars or newcomers and the original Off-Broadway cast has gone on to great things. The show was not LaChuisa's first musical but it was definitely the one that put him on the map.

Shockheaded Peter

Children are the future but children are naughty. How shall we teach them to behave? Perhaps tell them the stories of those who did not. Awful things happen to children who do not behave. 

Before Wonka's Chocolate Factory of Doom there was Struwwelpeter. German psychologist Heinrich Hoffman had written his son a series of "funny stories." Each followed a child who broke a rule and suffered a disproportionate fate. He published them in 1845 to bring laughter to the children of the world. 

In 1998 the Tiger Lillies, a British punk trio, premiered the stage adaptation. The children's stories were are told but the title characters story was adapted to shift blame to the narcissistic parents. Lead singer Martyn Jacques was surprised to learn the show made him popular with children. In a 2016 interview with The Australian he said: “Kids love me... They are not usually allowed to see me, but when they do they absolutely love me. They look at me and go, ‘Ooh, he’s bad’ — the rare misbehaving adult. I mean, adults tend to be a bit boring really — they behave themselves and have boring conversations. Children love it when you misbehave. And I am known to be a little naughty.”

Aida

The Elton John / Tim Rice musical. Not the Verdi opera or the 1952 musical My Darlin' Aida. 

Revisiting 2000's Aida I see that it laid some groundwork for 2003's Wicked. The serious woman chooses political rebellion over romance. The shallow leading man finds his angsty side. The privileged woman sings a comedy song about fashion in act one and a heartbroken ballad in act two before taking political power.

A key difference is that Wicked focuses on the friendship between the leading ladies while Aida devotes about 7 songs and 2 reprises to the chemistry free romance. Critics were cold but Headley won a well deserved Tony and the show ran 4 years. The score won a Tony too but it was up against two LaChuisa scores which likely cancelled each other's votes.

Now I suppose I'll have to research My Darlin' Aida.

Ragtime

In March of 1540 Hans Kohlhase was executed for leading a gang of raiders through Saxony. They were seeking vengeance against a nobleman who had stolen his horses. The anti-hero would be re-imagined as Coalhouse Walker in E.L. Doctorow’s 1975 novel Ragtime.

Ragtime weaves together the stories of three New York families battered by the tides of history in the early 1900’s. Coalhouse crosses paths with Booker T. Washington. The other families meet influential figures like Henry Ford, Harry Houdini and the activist Emma Goldman. Terrence McNally would juggle each story line in his ambitious libretto for the musical adaptation.

Coalhouse and his companions suffer tragedy in their quest for justice but Ragtime is ultimately an optimistic show. Ragtime believes that each generation can learn from the mistakes of the past and slowly build a kinder world.

Victor/ Victoria

Victor/Victoria thrived on film and flopped on stage. Why? Julie was older, yes, but the show didn't work any better with Liza Minnelli, Raquel Welch or Toni Tennille. I think the rewrites did it in. On film the story is a delightful ensemble farce. On stage it's a weak star vehicle. The supporting roles are diminished by bland new songs and a tendency to disappear.

One way the stage show expands upon the film is with Julie's love interest, King Marchand. James Garner determines Julie's a woman before declaring his love while Michael Nouri decided it didn't matter. This feed into the films larger thesis of sexuality as performance. 

The original film trailer

Julie Andrews singing Louis Says on stage.

Rachel York singing Chicago, Illinois on stage.
Raquel Welch singing I Guess It's Time on stage.
Liza Minnelli's press reel.

When Pigs Fly

The costumes were the stars of When Pigs Fly but the cast album makes a good case for the score and the skits. If you haven't heard it yet give it a listen.

Happy Pride month!

Sunset Boulevard

Scan the reviews of Sunset Boulevard and you’ll see some common threads. The leading lady gives a star turn but the lyrics are klunky and there was no point adapting the film for the stage. Sondheim declined a chance to adapt after Wilder said the film could only work as an opera. The current revival has been praised for scrapping the giant sets but something else is missing. What exactly? Let’s take a closer look at the libretto.

What is the story about?

May-December romance? The dark side of Hollywood? The horrors of age, death and time? The horrors of being trapped in a big house with a crazy lady?

The characters pursue big dreams and destroy themselves in the process. This lends itself to the musical form. At the same time the characters are static. This does not. Their fatal flaws lie in their denial. Norma isn’t hustling to be a star. She believes she is one. Joe isn’t hustling to be a better writer. He believes the folks rejecting his work are fools and jerks. Halfway through act one the career arc fades. The action shifts to Joe’s attempts to escape the house and Norma’s attempts to keep him there.

Who is the protagonist?

The music thinks Norma is. She gets the “I want” songs (With One Look, The Perfect Year), the “I am” songs (With One Look again, New Ways to Dream) and the “celebration” song when she thinks she’s achieved her goal (As If We Never Said Goodbye).

The plot thinks Joe is. We follow his journey and everything is seen through his eyes. He leaves the house frequently to pursue work at the studio and a relationship with Betty. Norma becomes his antagonist attempting to lure him back with money, threats and violence.

Sadly the score doesn’t have much use for Joe. He’s stuck with recitative and reactive duets. His only solo, Sunset Boulevard, has to serve as his “I want,” “I am,” “I’m becoming” song as well as a takedown of Hollywood culture. It’s more responsibility than the lyrics can handle. (“Beneath the tan the battle rages.”)

What’s missing?

For me it’s a consistent tone. Webber’s romantic score undercuts Wilder’s cynicism. The music buys into her delusion that she’s a dethroned queen. A tragic victim. Is she? Is it really so bad to be a wealthy retiree living in an L.A. mansion with a servant who worships her? A snarkier composer might have played up the contrast between her dreams and her reality. They might have given Joe something interesting to sing while they were at it.

Amelie & Anastasia

Several films have been adapted to the stage this season. The following both feature spunky heroines with tragic childhoods who find love and self worth in Paris.

Amelie. Music by Daniel Messé. Lyrics by Daniel Messé and Nathan Tysen. Book by Craig Lucas. 2015 Berkeley. 2017 Broadway. Based on the 2001 film.

Anastasia. Music by Stephen Flaherty. Lyrics by Lynn Ahrens. Book by. Terrence McNally. 2016 Hartford. 2017 Broadway. Based on the 1997 film.

Hedwig and the Angry Inch

Hedwig and the Angry Inch is 19 years old(?!) The score has aged remarkably well. In that time LGBTQIA+ politics have made great strides and the show has grown from cult classic to Broadway smash. The story takes place at a rock concert by The Angry Inch. Hedwig has decided to confess all sins through cutting humor and brash songs. Hedwig wants to be seen as both victim and survivor. The truth is uglier as Hedwig has gone from being abused by a father and first spouse to the abuser of a young lover and second spouse. 

Tommy Speck was 17 when Hedwig seduced him. The Broadway production cast actors ranging from their late 20's to early 50's in the title role. An older Hedwig seems sadder (and creepier) chasing after the man that got away. 

Is Hedwig's story a redemption arc? The ending is ambiguous but I'd like to think so. Hedwig may feel like a failure but Hedwig is deservedly a hit.

Priscilla, Queen of the Desert

When the film premiered in 1994 positive portrayals of gay, bisexual and transgendered characters were in short supply. Writer and director Stephan Elliott saw his low budget project become an international success. Elliott had retired by 2004 when he suffered a near fatal accident. Surviving disaster convinced him to return to work and adapt Priscilla for the stage.

Bette Midler agreed to co-produce the Broadway transfer and became a fervent spokesperson for the show. The book underwent extensive rewrites. Kylie Minogue songs were swapped for Madonna’s and the father/son subplot was expanded. The show won Tony Awards for Best Costume Design (Tim Chappel and Lizzy Gardiner) and Best Supporting Actor (Tony Sheldon).

Tim Chappel complained to the New York Times that the Broadway producers censored his designs to make them "safer for Broadway." Despite the tinkering the production ran 526 performances and had a lengthy tour. Productions of Priscilla, Queen of the Desert are currently running in France, Spain, South Africa and the United States.

Posts will be slowing down in 2017 due to other projects. I'll try to get at least one comic up a month.

The Nightmare Before Christmas

I didn't appreciate The Nightmare Before Christmas in the theaters in 1993. The trailer had spoiled the film's best gag and Danny Elfman's moody ballads didn't appeal. Ten years later I saw the film again and was amazed by what I'd missed. The film is gorgeous with an bold design and a clever score.

The stop motion field was revitalized and continues today with the crazy geniuses at Studio Laika. However Laika, for all their artistry, has been criticized for their inability to sustain a narrative. Nightmare's story remains clever, subversive and well told. Haven't seen it in a while? It's worth another look.

First Lady Suite

Michael John LaChiusa remains committed to writing challenging musicals with complex scores. Audiences may not flock to them but they gather committed fan bases. First Lady Suite and the sequel First Daughter Suite each present four vignettes about women who've lived in the White House. Some focus on the First Ladies themselves. Others view them through the eyes of their staff and admirers.

Variety writes: "What’s missing is any semblance of insight or revelation. A talented ensemble, under the capable guidance of Daniel Henning, instills as much pizzazz as possible into the proceedings but ultimately is defeated by LaChiusa’s convoluted, unfulfilling libretto."

The New York Times was kinder writing: "Weird, funny and wigged-out, "First Lady Suite" looks at history through frankly surrealistic glasses and extends its feminist sympathies even to a Presidential spouse as seemingly conventional as Mrs. Eisenhower. Yet, with the exception of "Eleanor Sleeps Here," the last and best developed of the three segments, Mr. LaChiusa's ambitions for his musical are more bracing than the musical itself."

Amour

Amour triumphed in Paris, flopped on Broadway, then vanished. The New York Times dismissed it as “ a wispy… twinkling trinket” but the cast album developed a passionate fan base.  In 2016 the rights to the English translation were finally secured by Tams Witmark for licensing.

There is a core of melancholy beneath the whimsy. Dusoleil has effaced himself to the point where he’s literally disappearing. His Doctor calls his wall walking power a disease. Isabelle is kept prisoner in her home. Her husband treats her like Rapunzel. When they find freedom they seek vengeance on their tormentors. The story could have easily flipped from superhero to supervillain narrative.

The townsfolk have survived WW2 and the memories haunt them. Dusoleil’s acts inspire his allies to break free from routine and pursue their dreams. The antagonists fear change and seek to control those around them. The libretto favors the former but reminds us that dreams have a cost.

Cole Porter Series part 2

Anything Goes. Music and Lyrics by Cole Porter. Original book by Guy Bolton and P.G. Wodehouse. 1934 Broadway.

High Society. (1956 Film) Music and Lyrics by Cole Porter. Screenplay by John Patrick. Based on The Philadelphia Story by John Barry.

High Society. (1998 Broadway). Music and Lyrics by Cole Porter. Additional Lyrics by Susan Birkenhead. Book by Arthur Kopit.

Poor Hope and Tracy. Their engaged to unsuitable spouses. The supporting cast must unite to reconnect them with their stalkers exes for true happiness.

The leading lady in Anything Goes is Reno Sweeney. She loves Billy but will devote her time to seducing Hopes fiance and setting her up with Billy. But the plot doesn't really matter. It's all an excuse for Ethel Merman (and subsequent divas) to belt some of Cole Porter's best tunes.

Tracy was the lead in Philadelphia Story. Katherine Hepburn commissioned the play, bought the film rights and saved her struggling career. Hepburn often played strong women who needed to be "tamed." She brought such strength to her roles that her leading men never really cowed her. High Society's Tracy is less successful. The film shifted the focus to her suitors, Frank Sinatra and Bing Crosby. Grace Kelly was not a singer and she lacked Hepburn's fire. The Broadway version gave Melissa Errico's Tracy more music but the trunk songs never felt right for her character. Critics recommended that audiences stick with the Hepburn film.