Tootsie

Tootsie didn't work for me. The 1982 film was about a cis man who disguises himself as a woman to get a role on a television soap opera. The musical had him win a role in a Broadway musical in 2018, yet the characters seemed to have learned nothing more about gender, sexuality or hiring practices since 1982. Putting it in a contemporary setting only made the sexual politics seem more retro.

The leading man's arc was also lost. He claims that his time as Dorothy has taught him humility and compassion but nothing in the libretto allows us to see that. At the performance I saw he didn't seem to grow or change one bit.

The Lightning Thief

Fans of the books hated the movies. They liked the musical but it's small scale hurt it in a Broadway house. Now Disney's making a TV series which has given the fans fresh hope.

Hadestown

"It's a sad song. We're gonna sing it anyway."

I don't like this show. The score's not my style and I don't agree that Orpheus should be forgiven for his failure because "he tried." But I respect the folks who do. Here's a collection of the Broadway reviews.

Whisper House

Duncan Sheik's 2009 concept album was adapted to the stage in 2010. The Chicago premiere runs through February 15 at Black Button Eyes Productions. An Off Broadway production opens on March 12, 2020. Jarrow and Sheik discuss the musical in an interview here.

Head Over Heels

Take one 16th century play. Add one 1980's pop group. Sprinkle some genderqueer aesthetic. And voila! Head Over Heels was considered too slight for Broadway but it's the ideal fit for a black box theater during Pride season. One caveat: if you're not a fan of the Gogo's going in, the repetitive song arrangements won't change your mind here. The clowns belt and the sexy chorus dances but the plot stops dead every time there's a song.

The Chicago premiere runs July 1-August 25. Details are here.

Ghost Quartet

So... eight months. How's everybody doing? I'm not back back but I've a few more ideas for comics.

The success of Dave Malloy's The Great Comet has renewed attention to the earlier Ghost Quartet. My synopsis doesn't do it justice. Four artists take the stage to tell four intertwining ghost stories. The sisters at the center, Pearl and Rose, provoke a cycle of revenge that burns for seven centuries. Malloy says he was playing a board game with his friends and said "The four of us should make a show." The result is something that will confuse, impress and lodge itself in your mind.


The Chicago premiere runs July 12 - August 17. Details are here. 

Teen Beach Movie

Disney's Beach Party movies were a hit in the 1960's. Disney's High School Musical was a hit in 2006. Would these two great tastes go together in 2013? Critical reviews were mixed but ratings were high enough to merit a sequel. Afterwards co-stars Garrett Clayton and Ross Lynch would graduate to racier projects, which would renew interest in their musical theater beginnings.

Fellow Travelers

There's a familiar tale in gay fiction. Two men find each other. One is ready to embrace his sexuality. The other burrows deeper into the closet, harming those around him. If they are lucky they both make it out alive. 

Fellow Travelers sets these tropes against the backdrop of Senator Joseph McCarthy's "Lavender Scare." McCarthy was determined to kick all homosexuals out of government jobs. Did McCarthy fear homosexuals would sell state secrets or was he just looking for a scapegoat? McCarthy makes an appearance in Fellow Travelers to defend his gay attorney Roy Cohn. The contradictions aren't deeply examined. They're simply there for the audience to interpret.

The focus of Fellow Travelers is the doomed affair between Timothy Laughlin and Hawkins Fuller. They live under the watchful eye of their co-workers in the Washington, D.C. of the 1950's. Spears's score provides distinctive arias for both men. Timothy's joyous "Last Night" is filled with the liberation of first love. Hawk's guarded "Our Very Own Home" laments the double life he's built. It's not a happy story but there are moments of humor and hope along the way. With luck Timothy's newfound pride will carry him safely to better times.

Tony Awards 2018 - Best Musical

And the nominees are:
The Band's Visit
Disney's Frozen
Mean Girls
The SpongeBob Musical

Mean Girls

Cady Heron is a boring protagonist. She lacks an identity. Her parents, the artists, the "Mathletes" and the "Plastics" project their stronger personalities onto her. Cady's journey from nerd to mean girl to strong independent woman is interesting on paper. In practice she's never quite nerdy enough, mean enough or strong enough to pull it off.

Luckily she's surrounded by a vivid supporting cast who sing the best songs and deliver the best jokes. Angry Janice, snarky Damien, cruel Regina, insecure Gretchen and naive Karen each get their moment to shine.

As far as film to stage adaptations of school films go I'd rank Mean Girls below Legally Blonde and Heathers but above Bring It On and High School Musical. I look forward to seeing how it does at the Tony's on June 10.

A Letter to Harvey Milk

"May 22 was Harvey Milk's birthday."
"Who was Harvey Milk?" a friend asked.
I gave the short version. "He was a gay rights activist in the 70's. He became a San Francisco city supervisor. The first openly gay politician. He was assassinated in City Hall along with the mayor by a colleague they'd fired. He'd been getting death threats and had already recorded his will. One of his more famous quotes was 'If a bullet should ever enter my brain, let that bullet shatter every closet door.'"
For a longer version have a look here.

Harvey Milk's life has been recounted by a musical, two operas, a documentary and an Oscar winning film. The 2016 musical, A Letter to Harvey Milk, is less about the man than his legacy. Two strangers, a Jewish widower and a lesbian teacher, meet in a writing class and discuss the way Harvey influenced their lives.

Some detractors are upset by the homophobic comments the teacher must endure. I'm of the mindset that a show set in the early 80's would be more offensive if it ignored the homophobia that our community has had to overcome. There's room for the Love, Simon fantasias in 2018 but we must never forget our history.

A Letter to Harvey Milk is currently running Off-Broadway at the Acorn Theatre.

Rise

Stop me if you've heard this before. Inspirational teacher puts a hot jock and some minorities in a show where they learn to live and love and... oh you have? Well how about we give half the kids abusive families... and make the teacher a monster? No, not a funny monster. Just extremely unpleasant. Unpleasant enough to inspire hostile reviews and scare audiences away.

Ted Sutherland brings charm to his coming out storyline, though it gets about 5 minutes of screen time per episode. Stephanie Block brings gravitas to the potentially campy role of his loving conservative mother.

The choice of Spring Awakening was an interesting one. It's still considered edgy. Will age give it the same respect that West Side Story, Grease and even Rent have gained from most school boards? Skip to episode 9 and 10 if you want to see the talent young cast performing the songs. Hopefully there will be better shows in their futures.

The Band's Visit

The 2018 Tony nominees for best musical are adaptations. Three are aimed at children and teens. The Band's Visit is aimed at adults. Thus critics loved it and grosses have been modest. The story takes place over the course of a night where nothing happens and everything changes. The following morning the stranded band will leave and the villagers will be left with fading memories. Will the Tony's spark summer sales and regional productions? Will leading lady Katrina Lenk star in more musicals or move to film and television? Or will the whole thing fade into memory as an assembly line of commercial properties queues up for the coming Broadway season?

Four Year Anniversary

Tomorrow is the 4th year anniversary of Three Panel Musicals! Thanks to all who've stuck with it and welcome to those who've just discovered it.

My favorite comics from 2017 include:

Caroline, or Change
Crazy Ex-Girlfriend (season one)
Ragtime
Smash
They're Playing Our Song


The 2018 Tony nominees have been announced so there'll be lots to discuss in the coming weeks.

Women on the Verge of a Nervous Breakdown

I like Laura Benanti’s patter number and Patti LuPone’s torch song. So did the critics.
As for the rest, well…  you’re better off watching the film.

Thoughts on Jesus Christ Superstar

Jesus Christ Superstar has always straddled a line between sincerity and camp. Last night's NBC production leaned toward earnest. That was the right move for a family audience but did make things a little dull. The rock stars lacked acting chops and the Broadway babies lacked the money notes. The show has always been a sound engineers nightmare and the screaming audience didn't help.

Still it reminded me how smart the writing is and why some audiences are offended. It's not the goofy 70's slang as much as the fact that it's told from a secular perspective. The principals see Jesus as "just a man" or a political "puppet." For me this raises the stakes over a traditional passion play or a syrupy piece like Godspell. 

The structure is interesting. Judas carries the show. Mary gets the heart. The Pharisees get the exposition. Jesus is unknowable to all around him. Herod and Pilate get the opportunity to steal the show. Alice Cooper won some fans last night by showing up but I was underwhelmed by his deadpan rendition of Herod's song. It was more fun to see Ben Daniels make a meal of Pilate's trial scene.

Andrew Lloyd Webber wrote this when he was 22. What have I done with my life? (Sob)

Frozen's Three Act Structure

Disney's Frozen opened on Broadway last night to mixed reviews. The film's three act structure sits oddly on a two act frame. Let's take a closer look at the screenplay: 

• Act One is the set up. It takes 6 songs to introduce the world, the protagonists, the conflict and the inciting incident. Elsa's powers are revealed and an eternal winter begins. The act ends with "Let It Go."
• Act Two is rising action. Anna tracks down her sister. We get 2 songs to introduce supporting characters and bring the sisters together. The turning point comes with a reprise of "For the First Time in Forever."
• Act Three is resolution. The sisters must overcome self doubt, unseat the antagonists and end the snow storm. Most Disney films run out of songs by this point. Frozen gives us the momentum stopping "Fixer Upper" and a reprise of "Vuele." 

The score front loads the best songs and splits the story between two protagonists. Now what happens when the stage show adds 10 more songs? We get this:

• Act One
• "Vuelie" – Company
• "Anna and Elsa" – Young Anna, Young Elsa and Townspeople
• "A Little Bit of You" – Young Elsa and Young Anna
• "Do You Want to Build a Snowman?" – Young Anna
• "For the First Time in Forever" – Anna, Elsa and Townspeople
• "Hans of the Southern Isles" – Hans
• "Dangerous to Dream" – Elsa and Townspeople
• "Love Is an Open Door" – Anna and Hans
• "Reindeer(s) Are Better Than People" – Kristoff
• "What Do You Know about Love?" – Anna and Kristoff
• "In Summer" – Olaf
• "Hans of the Southern Isles" (reprise) – Hans, Duke of Weselton and Townspeople
• "Let It Go" – Elsa
• Act Two
• "Hygge" – Oaken, Kristoff, Anna, Olaf and Company
• "For the First Time in Forever" (reprise) – Anna and Elsa
• "Fixer Upper" – Bulda, Olaf and Hidden Folk
• "Kristoff Lullaby" – Kristoff
• "Monster" – Elsa, Hans and Volunteers
• "Hans of the Southern Isles" (reprise 2) – Hans
• "True Love" – Anna
• "Colder by the Minute" – Pabbie, Anna, Kristoff, Elsa, Hans and Townspeople
• "Vueille (Love Thaws)" – Townspeople
• "Resolution" – Company

Disney is streaming several of the new songs on the Frozen website. We've lost "Frozen Heart" (no tears here), moved "Let it Go" and crammed two acts of screenplay into one act of stage libretto. Act two stretches out the film's finale. The storytelling has gotten a bit lumpy. Does it matter? Not to the target audience. They'll keep it running a year at least. Then the schools will produce it for ages.

Edit: I've now had the good fortune to see this show live. The problem for me was less the structure than the lack of danger. Film Elsa uses her ice powers to throw her sister out of the palace and attack invading assassins. She has to be knocked unconscious before the army can arrest her. Stage Elsa sings she "will not be a monster" and politely surrenders. Frankly she could stand to be a little more monstrous. The show would benefit from higher stakes.

Love, Simon

Love, Simon is a 2018 film based on Becky Albertalli novel Simon vs. the Homo Sapiens Agenda. Simon is a closeted gay teen juggling family, friendships, a blackmailer and an online romance. Indie cinema has explored the angst of the closet for decades but Love, Simon aims for the tone of a big studio romcom. Less Beautiful Thing, more 10 Things I Hate About You.

Director Greg Berlanti understands the loneliness, rage and narcissism that can accompany the coming out process. His film doesn’t shy from Simon’s cruel side as he desperately protects his secret and searches for his anonymous paramour. The audience plays detective alongside Simon as he grasps at any odd phrase or lingering glace from his male class mates. We're allowed to share that desperate desire to find someone… anyone… who understands what we're going through.

There are quibbles. Simon is ridiculously privileged. The female characters are treated poorly. The “comic relief” roles are cringey. Still Berlanti and his team have clearly put their hearts into this project. Love, Simon would have made my high school experience a little brighter and I’m glad the current generation of students gets to see it.

… Okay, it’s not a musical. Though there are two musical numbers. If they adapt it to the stage it will fit comfortably alongside Dear Evan Hansen and Be More Chill.

Everybody's Talking About Jamie

Everybody's Talking About Jamie is the third contemporary musical focusing on gay kids at prom and the second one based on a documentary. The show transferred from Sheffield to the West End this Fall and opened to rave reviews. Turns out if you tell a teen they can't go to prom they become a loveable underdog.

Oh and that school board that de-funded Prom Queen: The Musical? They've restored funding. Turns out telling teens they can't put on a musical makes them loveable underdogs.

Gay Prom Musicals!

Prom Queen the Musical. Music by Colleen Dauncey. Lyrics by Akiva Romer-Segal. Book by Kent Staines. 2016 Montreal's Segal Centre. Basis: Documentary Prom Fight: The Marc Hall Story (2002).

In 2002 Marc Hall sued the Durham Catholic District School Board. The principal had banned him from taking his boyfriend to prom. The story made international headlines and was adapted into a 2002 documentary, a 2004 film and a 2016 musical. In 2018 the London District Catholic School Board and the Thames Valley District School Board pulled their funding from a high school production of Prom Queen: The Musical. The board has cited profanity and mature themes but that didn't prevent their previous productions of Grease, Les Miserables and West Side Story. This kind of thing has happened before. It always sells a lot of tickets and makes the school board look bad.

The Prom. Music by Matthew Sklar. Lyrics by Chad Beuelin. Book by Chad Beuelin and Bob Martin. 2016 Atlanta. 2018 Broadway.

The publicity is likely to help Prom Queen: The Musical score some major productions. However another musical, The Prom, is going to beat it to Broadway. The Prom reunites The Drowsy Chaperone's Bob Martin and Beth Leavel for a zany comedy. The focus shifts from the teens to the well meaning adults making the protest all about themselves. The premise sounds messy on paper but reviews for the Atlanta premiere were strong. The Prom's Broadway run begins on November 15, 2018.