BROADWAY UNDERCOVER

Opening night of A Catered Affair was full of star power Thursday night. It all started with star Tom Wopat’s arrival in a vintage 1950’s taxi cab - a well-received publicity stunt that set the tone of Affair’s era and storyline. Wopat plays Tom, a man who spent his life in a financial struggle and has finally come into enough money to buy a larger share of his cab business. But he may be forced into spending the money on a lavish wedding for his daughter instead. Known for his 1970’s turn in the hit TV show “Dukes of Hazard” Wopat commented that “It feels like I’ve been driving a car my whole career.” He looked terrific and we think he stole the show with the number “I Stayed.”

Photographers jockeyed for position as they snapped away at all the celebs who checked out the opening night performance, including: S. Epatha MerkeRson, Glenn Close, Judy Collins, songwriter Christopher Cross, gossip columnist Cindy Adams, Karen Akers, Edie Falco, Robert Foxworth, Sheila Mac Rae (there to see her daughter Heather Mac Rae on the stage), B.D. Wong, Raul Esparza, Regis & Joy Philbin, Bernadette Peters, Roger Rees, Joan Rivers and Matthew Broderick.

Kathie Lee Gifford came with her own entourage of cameramen - we figured they must have been there to shoot a fun segment for her new Today gig. Not only did they film her going down the aisle to her seat, but they then filmed her actually in her seat just moments before the show began. The lady does not seem to mind a good spotlight.

At only ninety minutes with no intermission, we were at the opening night party at the Hilton Hotel before we knew it. This party celebrated A Catered Affair by actually being a catered affair, complete with a live band, all out buffet, impressive dessert table, rocking dance floor and engraved napkins.

Affair star and book writer, Harvey Fierstein arrived at the party early; he was followed by costars Leslie Kritzer, Tom Wopat and Faith Prince. Guest Brian Stokes Mitchell mugged for the cameras for quite a while and Esparza and Barbara Walsh dined, chatted and congratulated their Company director John Doyle on another job well done for his directing of Affair. Esparza called the show “beautiful.” Fierstein and Broderick joked around; Peters happily hugged Wopat, with whom she shared the stage some years back in Annie Get Your Gun; and HeatherMacRae doted on her proud mama.

Upon leaving every guest was offered a flower with a note saying “Thank you for joining our family.” A nice touch for an affair to remember.

 Marking a return engagement, New World Stages presented Seth’s “Broadway 101 — a Master Class in Belting, Divas and Hostile Opinions” on Monday night.  This love song to Broadway featured a bevy of talented singers and dancers including headliners Andrea Burns, Jen Cody, Jonathan Groff, Norm Lewis, Andrea McArdle, Julia Murney, Pamela Myers and Lillias White.  The program, conceived, written and hosted by the one and only Seth Rudetsky, combines great musical numbers with interesting facts about the biz presented with side slapping humor and overt affection.  We were treated to an insider’s view of what works and what doesn’t in the magical world of Broadway musicals. 

For instance, a singer’s “head voice” and “chest voice” each have their place, but when the two are misused it’s not pleasant to the ear, as humorously demonstrated by McCardle and Burns.   That particular bit culminated with a terrific performance by McCardle of “Tomorrow.”  Lillias White turned it on with a rendition of “Don’t Rain on My Parade” and Pamela Myers, recreated her Tony-nominated turn from the 1970 original production of Company and performed her signature song “Another Hundred People.”  Groff did ”Morning Glow” from Pippin with an inspiring chorus who demonstrated the beauty of having a ”bed” of background melodies.  And Norm Lewis led a delightful finale of “Lullaby of Broadway” from 42nd Street to show how a few simple dance steps done in unison by a large chorus is sometimes all you need for a big finish.

Following the show, Broadway Undercover mixed and mingled with cast members enjoying some good wine and tasty delights.  McArdle told us about her 20-year-old daughter – yes 20!–  who is preparing for the role of Eponine in a production of Les Miz.  McArdle herself would love to get back on a Broadway stage and says we could see her in Mama Mia one day soon.  She just finished up a run of Evita in Florida and has been performing her own show on the cabaret circuit.  Sadly, Jonathan Groff will be leaving Spring Awakening shortly, but don’t dishearten since he can be seen this summer as “Claude” in a free production of Hair in Central Park.  This sounds like a perfect fit!  And sweet Robin De Jesus was there to cheer on his In the Heights chum Burns.  He told us he is thoroughly enjoying performing in the new hit show and feels particularly lucky and privileged to be working alongside Priscilla Lopez.

The real star of the night was the lovable Rudetsky.  He used anecdotes from his childhood to drive the narration, which was wildly funny, with just the right amount of honey-filled moments.  He is a Broadway musician, performer, reporter and writer and the most lovable Broadway know-it-all you’ll ever meet. 

We are happy to say that we passed his class with flying colors and are anxious and ready for “102.”

 Raul Esparza confirmed today that he is beginning a workshop for a new Broadway musical, Leap of Faith, which will open some time next year.  The show is based on the 1992 Steve Martin movie about a traveling evangelist, and will be directed by Taylor Hackford.  We have no doubt Esparza has the goods — the looks, voice, acting chops and star charisma.  His extraordinary talent is well known throughout the Broadway community, but we believe this star vehicle will serve to enhance this beyond the Great White Way.  After all, The Boy from Oz certainly extended Hugh Jackman’s popularity in the entertainment world.  Esparza also said that he is slated to shoot more episodes of ABC’s Pushing Daisies in June.      

Broadway Undercover attended the opening of Esparza’s latest project, The Homecoming, on December 16, and today, attended its final (scheduled) performance.  We happily joined in the standing ovation as the curtain came down on this extraordinarly well-received 40th anniversary revival of the Harold Pinter play.  The cast, including Esparza, Ian McShane, Eve Best, Michael McKean, James Frain and Gareth Saxe, was in rare form treating the audience to some extra special touches that generated extra special response.  The Cort Theatre will next house the upcoming production of The 39 Steps with performances beginning on April 29.

 With all the whoopla surrounding In The Heights one might think it wouldn’t meet expectations.  Not so!  We found it to be a high energy, creative and original piece of theatre centering on a Hispanic community in Washington Heights.  The set design alone is worth a look — a group of stores and apartment buildings with the G.W. Bridge looming in the distance reflecting this close knit society.  The musical score, a combination of rap and Latin rhythms, has a distinctive style all its own.  The cast of primarily young actors perform with great gusto to make this street scene come to life.

The show transferred from Off-Broadway to Broadway with ease but some changes were made in the process.  According to Lin-Manuel Miranda, its multi-talented star who not only conceived the idea but wrote the music and lyrics, four songs were added to the second act, as well as lyrics and a lot of Spanish throughout.  Miranda, a charming 28-year-old who began this project while in college, is reaping the rewards of his endeavors with enormous critical and audience praise.  When queried as to the background of the show he said, “I started writing this when I was 19-years-old.  When I graduated college I sort of put it in a drawer and in 2002 got together with Tommy (Director Thomas Kail).  We’d been doing readings and workshops.  I’ve cut about 60 songs from the show.  I could do about two more shows with the songs I cut.  I have 60 songs in my trunk.”     

The audience leaves the Richard Rodgers Theatre on a high note and BU believes that Miranda and company will do the same come Tony time. 

 If you enjoy some inside dish on what it was like behind the scenes during Broadway’s golden age, you should pick up Julie Andrews’ new book “Home: A Memoir of My Early Years.”  While the book covers her difficult upbringing in war-torn Britain, it’s her stage tales that make for a fun read.

She discusses the audition and rehearsal process for My Fair Lady in great detail, and readily admits that playing the role of Eliza Doolittle did not come easy to her at first.  Rex Harrison, who famously played Henry Higgins, seemed to grow increasingly impatient.  She writes that during the rehearsal process, “I got the feeling from Rex’s cold and ungenerous attitude that I wasn’t making inroads with him and that he was, quite rightly, making a stink about this silly little English girl who couldn’t manage the role.  Apparently, he once said something like, ‘If you don’t get rid of that c___, you won’t have a show.’  Thank God, it was many years before I knew of that remark.” 

Director Moss Hart, who Andrews obviously adored, later told her that at the time he said to his wife, Kitty Carlisle, “You know, if this were the old days, I’d have taken her to the penthouse at the Plaza Hotel, locked the door, made passionate love to her all weekend, and she’d have emerged Monday morning – a STAR!”  Kitty apparently replied, “Well, darling, we know we love each other.  If you think it’ll do any good – go ahead.” 

Moss instead decided to work solely with Andrews for a forty-eight hour stretch.  “By the end of the forty-eight hours, that good man had stripped my feelings bare, and disposed of my girlish inadequacy; he had molded, kneaded, and helped me become the character of Eliza.  He made her part of my soul.  We were both exhausted.”   

She eventually developed a nice relationship with Harrison.  She writes, “In spite of the difficulties I’d had with Rex, he was so charismatic, such a brilliantly faceted diamond, and so fascinating to watch, that when he left the company, I missed him very much.  He lived his life in the grand manner; he oozed style.  I missed his power, his presence, and of course, he always kept me on my toes.”  Edward Mulhare took over the role.  Though Andrews said he did a good job, she never really got to know him.  “Rex had been so flamboyant; Mulhare was more guarded and private.”

Andrews also speaks lovingly of Roddy McDowall, her costar in Camelot, and how he loved big soirees at his apartment.  He had always wanted a piano, so a party was arranged for him and every “chum” contributed $25 to buy him a lovely little upright.  Andrews describes that party…and oh would that have been a fabulous wall for a lucky fly! 

She writes, “We all arrived early: Judy Garland, Noel Coward, Richard and Syb [Burton], Tony [Walton} and me, [Robert] Goulet, Tammy Grimes, Anthony Perkins, and so many other people who loved Roddy.  He was just bowled over.  There was a pianist for the evening, so everyone sang something.  We sat around on the floor, having been sated with food and wine, and at some point, Judy got up to sing.  I’ll never forget it.  In that quiet setting, she was mesmerizing.”

Other Camelot stories detail some of the off color antics of a very charming Richard Burton.  “Im grateful that Richard remained professional with me, and didn’t press his luck until much later in the run,” she writes.  “In all honesty, had he turned his considerable charms on me early in rehearsals, I do not know what my reaction would have been.  He was that attractive.”

This book reads like a part one of her illustrious career.  In fact, the book ends with Andrews venturing into the world of Disney and movies – which will surely be fodder for a follow up.

Harvey Fierstein may be best known for Torch Song Trilogy, the award-winning play which he wrote and costarred in, but last night he was honored by The Lesbian, Gay, Bisexual & Transgender Community Center for a body of work that has shed light on the lives and loves of gays.  Feted at The Times Center as part of the New York Times Live program series, Fierstein discussed his childhood and rise to stardom and watched as Edie Falco, Brooks Ashmanskas, Faith Prince, Dick Latessa and Matt Cavenaugh performed scenes from some of his best works.  The highly entertaining evening was filled with Fierstein’s tales and quick wit, tender moments and fabulous performances.

On his childhood, Fierstein readily admits that he is fully aware of how lucky he was to grow up in a family where his sexuality was completed accepted.  While he played with dolls and baby carriages, his brother took on the role of jock.  Being that he “never was in the closet,” he said he could never embrace “the myth that being openly gay would ruin your life.”  He explained that he actually had to learn to accept people who were in the closet. 

Torch Song Trilogy was his first big commercial success, and it surprised him.  It became a huge hit off Broadway and he felt that, “If we don’t move this thing I’ll be stuck here forever,” which is what prompted his decision to change venues and move to Broadway. He was convinced that once on Broadway it would probably close.  It ran for five years.  What was one of the first things he bought when he was finally making some money?   A box of rubber bands.

Following Torch Song, he wrote the book of La Cages aux Folles, only after producer Allan Carr persuaded a reluctant Fierstein to do so by flashing a $10,000 check before his eyes. “I’d never seen a check that big,” Fierstein said.  What was the point of the show? La Cages created “a world where being gay was the norm and the strange people were the heterosexuals.”

That was followed by the notorious flop Legs Diamond starring Peter Allen.  Fierstein divulged how desperate Allen was to star on Broadway, but the show never quite worked.  Except, that is, on one occasion—when standby Larry Kert performed the lead role during a rehearsal run through.  When Fierstein saw that, he said he felt better and knew he wasn’t crazy and that there was actually something there.

 Idina Menzel made others turn green with envy when she walked away with the 2004 Tony Award for her performance as Elphaba in Wicked.  Always involved in music on some level, this Long Island native went from singing at weddings and Bar Mitzvahs to a Broadway stage, making her debut in Rent in 1995.  She’s been performing ever since in concert, on CDs and, of course, the stage.  In an interview in Northeastern News, the student newspaper of Northeastern University, she talks about her new album “I Stand,” and how she manages to write songs about heartbreak while happily married to actor Taye Diggs.

“Well, first of all, no marriage is perfect.  My husband and I love each other very much, but we have our struggles, and ways that we miscommunicate, and the fact that we live in different cities all the time and have to spend a lot of time apart…We’ve been together 12 years, so you grow together, you grow apart, you have to find a way back to each other and I can write a really sad song about just a normal argument because I feel so badly when the two of us don’t get along.  It can be something so simple, but for that moment the emotion is so deep for me that I just write about how that feels.”

Asked where she sees herself in ten years, she said, “I’d like to have a baby soon.  But that doesn’t mean I’ll necessarily slow down for that long.”  She adds that she’d like to do another album and another Broadway show.  “I just want to stay true to myself and do things that move me and really connect with people.”  

 Yes indeed, Mrs. Tom Cruise, a/k/a Katie Holmes, is in final negotiations to bring her celebrity to Broadway later this year in the revival of Arthur Miller’s gripping drama All My Sons, to be directed by British-born Simon McBurney.  According to The Daily Mail, Holmes, 29, plans to participate in a workshop in May in preparation for her Broadway debut which marks her first play since high school.  She’ll be in good company joining John Lithgow and Dianne Wiest in this heartbreaking saga, the first revival of any of Miller’s plays since his death three years ago.  Holmes’ previous credits include film roles in The Ice Storm, Pieces of April and Batman Begins, among others, as well as Dawson’s Creek, a popular television series.  Her talent may possibly have been overshadowed by her marriage and public persona akin to that, but the stage will supply the naked truth.  Can Ms. Holmes cut the mustard?  We’ll be there to find out.       

 With an energetic cast led by James Snyder, Elizabeth Stanley and Harriet Harris, Cry Baby is indeed a crowd pleaser. As seen at Monday night’s preview it may not be the greatest show out there, but it surely provides a fun theatrical experience. With an off-beat sense of humor with lyrics to match it’s in keeping with John Waters’ material.

Mark Brokaw, the show’s director, was busy taking notes to make the necessary changes to improve the overall production. BU learned from one of our spies that one number in Act I was already being cut in an attempt to tighten up the show. As an ensemble cast member put it, “It’s a new show every day as they continue to make changes.”

James Snyder, a Sacramento, California native, makes a terrific Broadway debut in the title role of the misunderstood Cry Baby from the wrong side of the tracks who can’t shed a tear.  As he said, “It’s not too bad.” in response to BU’s praise.  It’s his first time in New York and he’s loving it.

The show boasts a lot of choreography and Harriet Harris (Mrs. Vernon-Williams) said, “The dancers are working so hard…Rob Ashford (choreographer) is a genius. ”

Elizabeth Stanley (Allison) agreed it was quite a difference from her role as April in Company. Unfortunately, BU thinks she is miscast appearing older than Snyder.  She wondered whether we thought Cry Baby gets a PG rating. We would add a “13″ to that. Check it out at the Marquis Theatre and judge for yourself.

 Broadway Undercover took in Ethan Coen’s off-the-wall three one-act plays, Almost an Evening, this afternoon at the Theatres at 45 Bleecker Street.  The stellar cast is headed by F. Murray Abraham, Mark Linn-Baker and Joey Slotnick.  This show is a different sort of comedy in Coen brothers’ style.  The first play was a quiet comedy; the third one is boisterous and out there, and the second fell somewhere in the middle.  BU has waited at many a stage door following a show, but this experience with Abraham was a first.   We never met the man before and expected someone akin to his intimidating movie persona.  However, the warm hug he gave put all that to rest as an engaging, charming, and friendly man emerged.   When asked about Ethan Coen, Abraham said that the way Coen was on the Academy Awards is exactly how Coen is in person.  “He’s not pretentious, he’s really very sincere and quiet.  He’s a wonderful man.”