Far From Heaven

I’ve discussed several musicals that explore the leading lady’s conflict between marriage and career. This month I’ll be looking at a collection of shows whose leads are unfulfilled housewives.

Housewife: a married woman whose main occupation is caring for her family, managing household affairs, and doing housework.

Musicals often explore characters inner thoughts but the lyrics of Far From Heaven mirror the dialogue of Todd Haynes’ 2001 film. This leaves the music itself to explore the subtext of the deeply repressed characters.  Cathy’s opening song, “Autumnin Connecticut,” is less “I want” than “I am.” She won’t begin to question her life till her husband Frank’s infidelity is revealed. Cathy’s music is operatic while Frank and the chorus express themselves through Angry Jazz. Raymond, the gardener, shares Cathy’s musical language signaling their bond. Frank will not adopt this language till he accepts his homosexuality in the tear-jerking ballad “I Never Knew.” By the end the three have much in common but society will force them to part. Two of the stars stars, Steven Pasquale and Kelli O'Hara, would quickly jump to the similarly themed Bridges of Madison County. 

This is my 200th comic! That's 600 panels of musicals. Thanks to all of you for reading!

Starlight Express

Co-worker: "Why are you drawing gay Transformers?" 

Me: Because Starlight Express!

I'd been told the story was "The Little Engine that Could" on roller skates. It starts that way but goes into much more... interesting places.

Frank Rich of the New York Times noticed as well. In his 1987 review he wrote:

"Andrew Lloyd Webber modestly explains that he conceived his new musical, ''Starlight Express,'' as an entertainment ''event'' for children who love trains. Over two numbing hours later, you may find yourself wondering exactly whose children he has in mind...

All the women are subservient carriages vying for the favors of mostly abusive male locomotives - with only an androgynous male caboose occupying lower social status. This hierarchical scheme is reinforced by Ms. Phillips's muscle-flexing choreography, seemingly inspired by male physical-culture magazines, and by the robotic costumes, which emphasize codpieces for the men and tight corsets and miniskirts for their groupies."

Rachael Lily Rosenbloom (And Don't You Ever Forget It!)

Tom Eyen would go on to write the libretto for Dreamgirls. Paul Jabara would go on to write the disco hits “Last Dance,” and “The Main Event,” and co-write “It’s Raining Men.” The actors (including Ellen Greene, Anita Morris, Andre De Shields, Kelly Bishop and Wayne Cliento)  would go on to hit shows and Tony Awards.

But on the night of December 1, 1973, they were playing a packed house at the 7^th preview and closing night for the disco musical Rachael Lily Rosenbloom (And Don’t You Ever Forget It!). The early closing secured it a place in flop history. The extra 'A' in "Rachael" is the one dropped from Barbra Streisand's name.

  

Frank Rich from the New York Times wrote:

“What followed was a musical fantasy of surpassing lavishness that made no sense, at any level, from beginning to end. The majority of the crowd fell into a sullen, open-mouthed stupor like that with which the audience greets the opening scenes of ''Springtime for Hitler,'' the fictitious Broadway flop within Mel Brooks's film ''The Producers.'' But no one walked out: ''Rachael Lily Rosenbloom'' became an existential test which everyone was determined to pass. The cast, many of whom were dressed in silver lame g-strings, attacked their tasks as if they were performing ''Guys and Dolls.''

Weird Romance

This summer Ellen Greene reprised her signature role at the Encores concert of Little Shop of Horrors. The role of Audrey had been written for Faith Prince but a television contract prevented her from performing in the scheduled premiere. The role went to Ellen and history was made.

Ellen had already originated roles in several Off-Broadway musicals and would again. After co-starring in the Little Shop film she reunited with Alan Menken to play contrasting roles in Weird Romance. Both women were trapped inside machines and the shows emphasized ensemble rather than the star. Critics dismissed the show but there are some interesting ballads and comic numbers.

Grey Gardens

The Fantasticks, Into the Woods and Sunday in the Park with George are just a few musicals to make drastic changes in tone or setting between acts. It's a risky gamble that often invites audiences and critics to pick a side. When Grey Gardens transfered to Broadway in 2006 the critics hated act the original 1940's farce Act One. However they loved the second act which was based on the 1970's documentary, and bowed down to worship the star at the center: Christine Ebersole.

Watching this performance is the best argument I can think of for the survival of the American musical. ~ Ben Brantley, New York Times

When the show was revived in Sag Harbor in 2015 the praise went from a starring role to a supporting role played by Betty Buckley. They were still ambivalent about the show itself.

This summer Chicago's Goodman Theatre will premiere War Paint, a new musical by the same creative team. Once again the plot will focus on a feud between two real world figures (Helena Rubinstein and Elizabeth Arden) and once again there will be great star power (Christine Ebersole and Patti Lupone). Time will tell whether the book and score win as much praise as the featured divas.

Triumph of Love

“They came in a whirl of wanton words,

Those feckless and false young men.

They tore at my heart like hungry birds

and never came back again.

Serenity. Serenity. I never knew any then.”

Princess Leonide was a ruthless figure in 1732. The playwright, Pierre Marivaux, liked to tweak the commedia conventions. He’d place his lovers in farcial situations only to break their hearts. The 1997 musical softened Leonide with a song of remorse, and upstaged her by casting Betty Buckley as Hesione. Leonide’s seduction of the prince and his uncle were played for broad comedy while Hesione got songs of awakening love, self-discovery and heartbreak. Critics praised Buckley, panned the show, and left it to college campuses. A film in 2001 awakened some regional interest in the play but the story remains an acquired taste.  

Adapting Alice in Wonderland

Oz books have a quest structure that lends itself to adaptation. Wonderland books do not. Walt Disney managed to give Alice a small arc and some introspective ballads but the film was criticized for a "lack of heart." Recent musical adaptations have taken great liberties to give Alice a goal and an antagonist.

1985's Alice is pursued by a terrifying Godzilla-like Jabberwocky... and meets an equally terrifying Carol Channing.

2011's Wonderland ages Alice up to explore adult neuroses. Why is her inner child represented as a  dominatrix? Well she's got some issues.

2015's wonder.land sets the whole thing in cyberspace as a group of teens use their online avatars to cope with their anxiety's. Some critics found it brilliant while others found it incomprehensible. 

TV, films and video games have since turned Wonderland's characters into figures of fun, action and horror. Who's your favorite Alice?