The Broadway Musical Blog – Musical theater news and gossip from the Great White Way

Dishing out daily (or almost daily) Broadway musical news and gossip. The companion site to The Broadway Musical Home (broadwaymusicalhome.com), a directory of Broadway musicals with the story, songs, merchandise, video clips, lyrics, tickets, rights & awards for almost 200 shows.

Archive for Memphis

Closing, opening, cast albums, casting and more in a huge Broadway news round-up

A lot has been happening on Broadway these last few weeks. Here are the biggest of the announcements:

Closing soon

Bye Bye Birdie has offically announced that it will play its final performance on Jan 24. Though technically an extension of its limited run, many had expected this expensive production to run much longer, and producers are definitely walking away with losses.

RUMOR: Michael Riedel of the New York Post is saying things aren’t looking good for Broadway’s Ragtime: “Officially, the producers say, ‘there are no plans to close at this time.’ Unofficially, it’s likely to close Jan. 3 at a total loss, several production sources say.”

Though not Broadway, this one is a big blow for NYC theatre. Altar Boyz, the longest running Off-Broadway musical to open in more than a decade (the 9th longest of all time), will play its final performance at New World Stages on Sunday, January 10th at 7:30 PM.

Opening soon

Million Dollar Quartet will officially begin previews at the Nederlander Theatre on March 13, 2010 and open on April 11, 2010. The Broadway production will be independent of the Chicago company, which will continue there. Broadway casting has not yet been announced.

All About Me, which had announced an opening in a few months at the John Golden Theatre, will instead take over Henry Miller’s Theatre now that Bye Bye Birdie is vacating.

Producer Ken Davenport has announced that Stephen Schwartz’s Godspell, which had been scheduled to begin previews at the Ethel Barrymore Theatre in September 2008, is now aiming for a Broadway bow during the 2010-11 season. The revival will be directed by Daniel Goldstein. No casting has yet been announced.

Cast albums

PS Classics and Nonesuch will team to release the new Broadway cast album of Stephen Sondheim’s A Little Night Music. The cast of the Trevor Nunn-directed revival will record the album Jan. 4, 2010. No release date has yet been announced.

The cast album for the Broadway revival of Finian’s Rainbow will be available on Feb. 2, 2010 (though the disc will be at the St. James Theatre three weeks before that). The new Broadway cast album will be produced by PS Classics.

Broadway’s Memphis has recorded a cast album with Delray Records. The national release will be announced shortly, but in the meantime fans may purchase it at the Shubert Theatre where the musical opened in October.

Broadway casting announcements

Corbin Bleu of High School Musical fame is going to play the role of Usnavi in In the Heights starting January 25th. Regarding the casting (which has met with a lot of nay-saying online), Lin-Manuel Miranda had this to say:

Javi is amazing. Jon Rua is too.
Michael Balderrama makes the drama ring true.
They’re big footsteps; I wrote a really big shoe.
This one is Lin-approved: Mr. Corbin Bleu.

Producers have announced that the Broadway production of Sondheim on Sondheim, opening April 22, will star Barbara Cook, Vanessa Williams, Tom Wopat, Leslie Kritzer, Norm Lewis, Euan Morton and Matthew Scott.

Kelsey Grammer has signed on to star in the Broadway musical La Cage Aux Folles, as Georges. He will star alongside Douglas Hodge, who will continue in the role of Albin, the drag queen star, which he played to critical acclaim in London. The revival opens on April 18, 2010 at the Longacre Theatre.

Matt Cavenaugh will play his last performance as Tony in West Side Story on Dec. 13. His understudy Matthew Hydzik will resume the role on Dec. 15.

Broadway’s Mary Poppins welcomes Valerie Boyle to the role of household cook Mrs. Brill Dec. 4 and Tony nominee Jonathan Freeman to the company on Dec. 12 at the New Amsterdam Theatre.

Destiny’s Child member Michelle Williams will join the musical Chicago on Broadway starting Feb. 8. Williams is slated to star as Roxie Hart in the production until mid-April.

Grammy-nominated cast albums

The Grammy Award nominations were announced, and the Best Musical Show Album contained nominations for Ain’t Misbehavin’, Hair, 9 to 5, Shrek and West Side Story.

Wicked sets a new record

Wicked hit a major milestone Thanksgiving weekend, becoming the first Broadway production to report sales of more than $2 million for a single week.

Musicals on the Silver Screen

Variety is reporting that “Shakespeare in Love” director John Madden is in talks to direct the film version of My Fair Lady with a screenplay by Emma Thompson. Keira Knightly and Daniel Craig have been rumored to star in the Cameron Mackintosh and Duncan Kenworthy produced movie musical.

Tony Award-winning actress Donna Murphy (Passion, The King and I) has joined the cast of the new Disney animated musical Rapunzel. Murphy will voice the role of the witch, alongside Mandy Moore and Zachary Levi. Academy Award-winning composer Alan Menken will compose and Byron Howard and Nathan Greno will direct.

Amateur rights available

Rights for the 2008 Tony Award winner for best musical, In the Heights, are now available through R&H Theatricals. For more information or to license the show, click here.

Musicals on Time’s Top Ten of Everything list

Time Magazine unveiled its “The Top 10 Everything of 2009,” rating news, entertainment, pop culture and more. Ragtime, Finian’s Rainbow and Fela! all appeared on the “Top 10 Plays and Musicals” list and Marion Cotillard on the “Top 10 Movie Performances” list for her turn in the film version of Nine.

New equity leadership

Actors’ Equity Association announced Dec. 11 that Mark S. Zimmerman has resigned as president, effective immediately. Equity’s vice president Paige Price will now carry out the duties of the president until a new president is elected.

Touring soon

Dreamgirls concludes its Harlem run Dec. 12 prior to embarking on a national tour. The production, starring Moya Angela, Syesha Mercado, Adrienne Warren, Margaret Hoffman, Chaz Lamar Shepherd, Chester Gregory, Trevon Davis and Milton Craig Nealy was directed by Robert Longbottom (Side Show, Flower Drum Song, Bye Bye Birdie), who co-choreographed with Emmy-nominated hip-hop artist Shane Sparks.


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The Memphis reviews are in …

You read what our guest reviewer thought of Memphis, the newest musical to open on Broadway, but what do the critics think?

Unlike Bye Bye Birdie, which was universally panned, reviews for Memphis were mixed. Here’s what the big media outlets had to say:

NEW YORK TIMES

Sex and race and rock ’n’ roll made for a potent, at times inflammatory, combination in the 1950s, when the new musical “Memphis” is set. But there’s no need to fear that a conflagration will soon consume the Shubert Theater, where the show opened on Monday night. This slick but formulaic entertainment, written by David Bryan and Joe DiPietro, barely generates enough heat to warp a vinyl record, despite the vigorous efforts of a talented, hard-charging cast. While the all-important music, by Mr. Bryan of Bon Jovi, competently simulates a wide range of period rock, gospel and rhythm and blues, the crucial ingredient — authentic soul — is missing in action. Read the full review.

ASSOCIATED PRESS

The sensuous, soulful sound of rhythm ‘n’ blues hits the audience right from the start of “Memphis,” the exhilarating new musical now shaking Broadway’s Shubert Theatre. Take a deep breath as the curtain rises because the exuberance doesn’t stop. Read the full review.

USA TODAY

You might expect a show called Memphis, with a score by rock keyboardist David Bryan and a book by Joe DiPietro, whose last Broadway outing was the jukebox musical “All Shook Up,” to be an homage to Elvis Presley. It isn’t — and for that, the Presley estate owes Bryan and DiPietro a debt of gratitude. Read the full review.

VARIETY

A talented cast, stirring vocals, athletic dance numbers and vigorous direction supply crowd-pleasing elements in the lively new musical, “Memphis,” as evidenced by the waves of appreciation coming off the audience. But there’s also a nagging predictability to this story of a white DJ who brings rockin’ rhythm and blues from black Beale Street to the mainstream in 1950s Tennessee. The show is entertaining but synthetic, its telepic plotting restitching familiar threads from “Hairspray” and “Dreamgirls,” while covering fictitious ground adjacent to that of recent biopic “Cadillac Records. Read the full review.

AM NEW YORK

Contrary to popular belief, rock and roll did not start with Elvis Presley. The new Broadway musical “Memphis” depicts its birth among black singers in underground nightclubs on the now fabled Beale Street – and how the art form was soon pirated by white businessmen as a form of mass entertainment. Read the full review.


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Memphis: A good time at the theater (A guest review by Peter Duchan)

Memphis

If you’re looking for a good time at the theater, Memphis may be just the show for you.

This slick and mostly entertaining new musical from the team that brought you The Toxic Avenger, centers on Huey Calhoun, a ne’er-do-well high school drop out who discovers his calling in promoting the rhythm and blues music of African-American singers, especially the beautiful and talented Felicia Farrell. Of course, Huey, who is Caucasian, falls in love with Felicia, and complications ensue.

Unfortunately, the musical is neither sensitive nor intelligent enough to handle these complications with the requisite depth, and this prevents Memphis from being a wholly satisfying musical theater experience.

Memphis belongs in a category of art led by “Mississippi Burning,” the 1988 film about civil rights, stories in which the white man gets a hefty amount of credit for a struggle he didn’t quite participate in. Memphis at least acknowledges this with passing references to the question of appropriation, as the basic story is one of white people finding success on black shoulders. On the whole, however, it feels overstuffed with broad simplifications and its only discernible theme or message is an uncontroversial plea for tolerance.

And yet, I had a great time. The production makes it pretty clear early on that, despite the seriousness of the subject, you are going to enjoy yourself watching it.

The pleasant but unremarkable score (David Bryan and Joe DiPietro) propels the show. There is hardly a moment without music, and it would take a stony heart not to groove a little in your seat. The book, by Joe DiPietro, is fast-paced and often funny, despite doing its fair share of pandering to an audience that is surely smarter than DiPietro assumes.

And the show boasts one of the most energetic and hardworking ensembles I’ve seen in a Broadway musical. They deliver Sergio Trujillo’s snappy and fun choreography with tremendous zeal and excitement. There are a number of fine dances peppered throughout, including one involving a group of girls jumping rope together, but Trujillo fails to seize many storytelling opportunities.

The production in general is upbeat and professional, but is often marred by a feeling of skimming the surface of what, frustratingly, must be a very deep pool. Characters are allotted their one emotion or conviction, as exemplified by the characterization of Delray, Felicia’s brother. He begins the show extremely protective of her and doesn’t seem to grow or change much in the course of its two and a half hour running time. This can be aggravating, since nothing Delray says ends up being all that surprising.

There is one standout performance in the piece, and that is Montego Glover as Felicia. The show only truly engages when she’s at its center, as in her first act dramatic number, “Colored Woman,” when she lets loose and bemoans a society that teaches African-American women not to dream.

But Huey (Chad Kimball) can’t seem to stop himself from stealing her thunder–despite vowing to make her successful–and it is his character that drives much of the action. His is a highly mannered form of showmanship, but he seems to hold the audience in the palm of his hand and received an enormous ovation at the close of the evening.

It’s always a pleasure to hear Cass Morgan sing, even if her character’s jump from stereotypical racist to beacon of tolerance is unsatisfactorily charted.

Musicals do tend generally to be light and upbeat and you can’t be too upset when one succeeds at being so. However, Memphis tackles a subject—broadly, American racism—that I feel deserves a little more nuance than the authors achieve. Nevertheless, the evening is an enjoyable one. I just wonder if you should leave a musical on such a heavy subject, turning to your companion and saying, “Boy, I had a terrific time.”

Peter Duchan is a playwright-screenwriter whose works have been screened at the Tribeca, South by Southwest, Gijon International, Brooklyn International, and many other film festivals.  He was raised in Westport, CT and currently lives in Manhattan.  He graduated from Northwestern University.

Peter was the winner of our September Memphis ticket giveaway.

Interested in guest reviewing a Broadway musical for the blog? Shoot me an email. I’m looking to assemble a great group of reviewers.

Win a pair of tickets to see Memphis on Broadway!

Win a pair of tickets to see Memphis on Broadway on Friday, October 2 and write us a review of the show for the blog!

To enter to win, just comment below, tweet @broadwaymusical or email why you want to see the show!

Please note: I reserve the right
to make edits to the winner's 
review. Winner will be chosen
using www.random.org and will be
announced on Monday, September 
28 on the blog, 
broadwaymusicalhome.com,
Twitter and Facebook.


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Kimball and Glover Will Star in Memphis on Broadway

Chad Kimball (Into the Woods, Lennon, The Civil War) and Montego Glover (The Color Purple, Ragtime, Aida), who both originated the starring roles in the show’s pre-Broadway La Jolla and Seattle engagements, will star in the upcoming Broadway production.

The Broadway production will also feature J. Bernard Calloway (The Good Negro), James Monroe Iglehart (The 25th Annual Putnam Spelling Bee), Cass Morgan (Mary Poppins), Derrick Baskin (The Little Mermaid), and Michael McGrath (Spamalot, Is He Dead?). Ensemble members include: Jennifer Allen, Brad Bass, Tracee Beazer, Kevin Covert, Hillary Elk, Dionne Figgins, Rhett George, John Jellison, Sydney Morton, Vivian Nixon, John Eric Parker, Jermaine R. Rembert, LaQuet Sharnell, Ephraim Sykes, Cary Tedder, Danny Tidwell, Daniel J. Watts, Katie Webber, Charlie Williams and Dan’yelle Williamson.

Christopher Ashley (Xanadu) directs the Joe DiPietro written (I Love You You’re Perfect Now Change, The Toxic Avenger) and David Bryan scored musical (The Toxic Avenger) with choreography by Sergio Trujillo (Next to Normal, Jersey Boys), scenic design by David Gallo, costume design by Paul Tazewell, lighting design by Howell Binkley and sound design by Ken Travis.

Previews begin Sept 23 and the show officially opens on Oct 19.

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