BWAY: FINIAN'S RAINBOW Axed

by Trish Causey

On the heels of the sudden and unexpected closing of RAGTIME, Playbill.com announces the closing of FINIAN'S RAINBOW on January 17, 2010. Some thought FINIAN'S would only last as long as RAGTIME did, but no one expected a January end so soon after Fall openings---especially after both shows made it on TIME'S Top 10 List.

This is a worrisome trend for big musicals that employ large casts and real orchestras. Perhaps it was the historical plot-points or political satire that made them less appealing to vacationing audiences seeking solely entertainment sans enlightenment?

Investors should know better than to put so much money into a show and wimp out just a couple months into it. They should be there for the long haul. When WICKED was mounted, the producers knew it could be a year before they saw a return in their investment. Even with mixed reviews, they stuck it out, and now WICKED keeps breaking records.

Broadway should remain an avenue for all types of shows, both the traditional book musical and the experimental modern music revue. We need it all. Only musical theatre makes such diversity possible, and it all needs to be supported and nurtured.

BWAY: RAGTIME Extended (Slightly)

by Trish Causey


RAGTIME, the show that was all abuzz with cancellation due to Internet rumours, has been given life support for one more week. According to the show's website, RAGTIME will do another eight performances and close January 10, 2010.

The show has been turning people away at the door since the official word came that RAGTIME really was canceled after weeks of Internet rumours saying the show had been closing or already closed. As one of the RAGTIME stars tweeted yesterday, "Where were all these people BEFORE we were closing?"

This extension also allows the Talk Back, hosted by Kennedy Center's Michael Kaiser, to go on as scheduled on Tuesday, January 5th, at 7 p.m.

If we keep this up, maybe RAGTIME will extend another week, then another, and then another, ad infinitum. Use the power of the Internet for good not evil!

Source:

http://www.ragtimebroadway.com/

BLOG: Internet Kills RAGTIME

by Trish Causey

The "information highway" took a small bump in the road and transformed it into a massive pile-up---all due to unfounded rumours, and now a wonderful Broadway show is paying the price.

Rumours started online that RAGTIME was closing even though the producers denied the rumours and were actually starting another marketing campaign for the first of the year. In fact, cast members reported that when signing autographs after performances, the fans would opine, "Sorry the show's closing," even though it was not.

The revival launched on Broadway November 15, 2009, after a wildly successful run in Washington, D.C., that extended several times. Though WICKED was breaking its own box office records, the holidays could not lift RAGTIME up to the same par. The Internet buzz caught like wildfire, and poof! Ticket sales were down because people thought it was already gone.

The New York Times reported the official word that, yes, Virginia, RAGTIME will indeed close on January 3, 2010---all because of the Internet.


Source:
http://www.nytimes.com/2009/12/29/theater/29ragtime.html

REVIEW: "The Princess and the Frog"

by Trish Causey

Disney's new animated feature film, "The Princess and the Frog," is a lush, beautiful homage to the quality animated films they made years ago. Forget what any naysayers may say, and go see this film!

If you have tired of the proliferation of CGI (computer generated imaging) films that have populated the film and television industry, "The Princess and the Frog" is a welcome respite from characters suffering from the plastic-y look and writing that is predominantly sarcastic to downright rude.

Disney altered the traditional storyline from the medieval princess who must kiss a frog to find her princes to a waitress working three jobs to save money for the down payment to start her own restaurant. (So where is the "princess"? You'll have to watch the movie to find out.)

Randy Newman's musical numbers are trademark, quality musical theatre fare and are all expertly performed by the vocal cast. Whether scoring a jazzed up party number or a wistful ballad, Newman's musical characterizations hit every note perfectly. (And it is still a travesty that his emotionally gripping song from Toy Story 2, "If Somebody Loved Me," lost the Oscar for Best Song to Phil Collins' one-note Tarzan tune.)

The settings are superb, from the little house Tiana (the Princess) shares with her family, to the exquisite renderings of the swampland lit by fireflies. My heart skipped a beat seeing Tiana's restaurant/night club in her "dream sequence." The Art Deco architecture and stylings surrounded elegant men and flapper-esque women, and I wanted to jump into the movie and be right there. Tiana's transformation from waitress to entrepreneur was inspiring.

Tiana is voiced by Tony Award-winner, Anika Noni Rose, who also played Lorrell in the 2006 film version of "Dreamgirls", alongside Beyonce` and Jennifer Hudson. John Goodman plays Big Daddy La Beouf, and Oprah Winfrey voices Tiana's mother, Eudora. Outside of these three, there are no readily familiar "stars" on the cast list, just many actors who *should* be household names. This fact alone shows Disney was going for substance not just star power.

Disney set this film in the 1920's South, specifically New Orleans. As a Southerner, specifically Mississippian, any time I hear a big studio wants to make a film about the South, I cringe. Stereotypes and misperceptions of the South and Southerners tend to win out over the truth of what we are like. (Not to belabor the point, but yes, we can read, wear shoes, and get along with most folks.)

This "getting along" has had some critics complaining that this film does not accurately portray African-Americans and their plight. However, this film is set in the 1920's not the 1850's, and it is not about social justice issues but finding true love, looking beyond the exterior to see the heart that resides within. It is important to note, though, "The Princess and the Frog" is the first Disney film to feature a black princess, and not just because the African or African-American characters are usually four-legged.

Critics also want to make an issue out of the fact that there are no race issues in the film. Even though this film takes place in the 20th century, the Civil Rights movement did not see real success until 1964. So in the timeframe of the 1920's, segregation still existed. However, the people of New Orleans are not just black or white. Many pride themselves on being Creole, a blend of ethnicities ranging from American Indian, Italian, French, Spanish, African, even Portuguese. Does it make sense that white Big Daddy would sit in a restaurant amongst the Creole or African-Americans, maybe not elsewhere, but in New Orleans, I could see it.

The not-so-New-Orleanian accents were much more subtle than the sidekick caricatures themselves. The aptly-named larger-than-life Big Daddy evoked a hybrid of KFC's Colonel Sanders and Looney Tunes' Colonel Shuffle, and at any moment, I expected to see ol' Beauregarde laying on a front porch eating a bucket of fried chicken. The little rich girl, Charlotte, is initially presented as someone you just want to hate (rich, blonde, spoiled, only wears pink), but later proves that while her head is stuffed with cotton, her heart is filled with sincere care for her friend, Tiana.

Critics first raised their disapproving voices in 2006 when Disney released production stills. Prince Naveen, the human form of the frog with whom Tiana falls in love, appears to be a white guy while the conjurer of misdeeds, Dr. Facilier, is African-American. The almost toothless Cajun firefly, Ray, also set off rants of discrimination. The portrayal of the toothless, blind, cackling, ancient Voo-Doo Priestess, Mama Odie, came under fire, which just goes to show they have never met a real Voo-Doo Priestess. (Real Voo-Doo Priestesses come in all personalities, from fun to frightening. Never tick them off.) Even with the melodramatic characterizations, this menagerie of dancing frogs, Cajun bugs, and a trumpet-playing alligator easily passes through the "suspension of belief" required for any musical theatre production.

This brings me to the overall production value of "The Princess and the Frog." Disney has bottomless pockets, and they could have done anything for any amount of money. Instead they spent their money on the laborious, time- and money-consuming art of handmade animation. (Did they use computers to help a little? Who cares!) What they achieved with "The Princess and the Frog" is not only another shining example in their catalogue of animated greats, but they have given cause to the need to preserve the handmade arts.

I feel like a fuddy-duddy at times with my insistence of building basic skills as an artist and not relying on technology, but in this case, I feel justified. Whether it is a music composition, a painting, a novel, or a sculpture, handmade art takes time and patience, something young whipper-snappers of today just don't want to wait for.

"The Princess and the Frog" is a film that is perfect for everyone in the family, and you will not be sorry you made the journey with the wacky cast of characters. With all the hoopla surrounding Disney's first black princess, the end result is a gorgeous film embued with perfectly scored music and a strength of heart that takes your breath away one frame at a time.

REVIEW: "The Sing-Off"

by Trish Causey

If you don't have cable TV (like me) or got so busy with the holiday frenzy you weren't paying attention to the TV, then you just may have missed NBC's miniscule reality show, "The Sing-Off." If you did, there's still a chance to see this wonderful, legitimate vocal competition online and let the network know you want MORE of this show!

While the history of the reality show abounds with fame-seekers, adrenaline junkies, and the utterly depraved, a few have managed to capture the competition spirit of genuinely talented and expertly trained individuals. However, most reality contest shows devote half their air time to perpetuating (or fabricating) conflicts between contestants (or Judges) and generally beating a dead horse to death, throwing it down a few rings toward the bottom circle of Hell, lighting fire to it, blogging about it, and bringing it back as a Wild Card to cause further chaos in an already screwed up competition premise. These types of shows, along with the increasing negativity of prime time TV, was the main reason I left TV behind and now watch my preferred shows online.

Amidst this competitive conundrum, a new show has been glimpsed on the horizon, and I can only hope that "The Sing-Off" is a sign of things to come. A singing competition of a cappella vocal groups, "The Sing-Off" is an amazing breath of fresh air among the reality shows that sensationalize egomaniacs and skewer the proverbial fish out of water.

The eight groups chosen to participate in the televised show crossed every boundary any other studio producer might have enforced. Not just for the 18 to 25 demographic, "The Sing-Off" vocal groups included a high-energy all-male college group, the Beelzebubs; an over-40, all-female Barbershop quartet with incredibly tight harmonics and a big sound, Maxx Factor; and an all-male group from Puerto Rico who infused their songs with Latin rhythms, Nota. Singers of many ethnicities furthered the diversity of the a cappella group stereotype.

The competition as a whole spanned every singing style and age-group possible. The groups' song choices and the Judges' requests produced a unique experience as familiar favorites were re-arranged and re-imagined musically. Some final products were better than others, but I would gladly watch "The Sing-Off" any time, any day of the week, to promote real singing by real singers on network television.

Former 98 Degrees singer, Nick Lachey, hosted the show and frequently repeated the annoyingly incorrect statement that the singers were singing "with no instruments, just their voices." The human voice IS an instrument; it is the most amazing, most versatile instrument that exists. Nothing compares to it, and only the piano and cello come close, but still fall second to the voice. Others must have complained as well because by the night of the Finals, he sang a different tune saying, "their only instrument is their voice."

Boys II Men alum, Shawn Stockman, and award-winning a cappella impresario, Ben Folds, were spot-on in their duties as Judges, offering advice on improving the performances or arrangements and giving cautions of pitch problems. The third Judge, Pussycat Dolls' singer, Nicole Scherzinger, took up space as eye candy. Featurettes showed the vocal groups on their home terf and their journey to the Quarterfinals, as well as visiting Los Angeles charities to give back to the community. All three Judges plus special guests, Smokey Robinson and Bobby McFerrin, performed with the groups that made it to the Finals.

The three consecutive nights of competition with the Finale the following week (instead of once a week leading up to the Finale) might be a sign NBC feared initial interest would fade---as if "rubbernecking" an a cappella show might have lost its appeal during the holiday season. Their hesitation was unfounded as each show was full of energetic performances, ear-catching harmonies, and unheard of a cappella stage theatrics: choreography. Divulging any other details will spoil the surprise, so just trust me, and watch the whole eight hours.

As "GLEE" re-energizes television with the music zeal once enjoyed by former marvel, "American Idol" (see above comments of sensationalized inner conflicts), "The Sing-Off" better be back on the schedule for the Spring. Television, as well as the country itself, needs programming that promotes the arts, highlights hard work not the easy way out, and honors community service not grabbing whatever you can and hoarding it. And unlike most reality shows, every one of the contestants was good enough to be there.

Go to NBC's website and catch the replay. Long live "The Sing-Off!"

BLOG: ELF THE MUSICAL is not just a joke anymore

by Trish Causey

Even though you might be over the holiday madness for 2009, that's no reason not to look forward to a holiday-themed Broadway show for winter 2010.

In 2003, Will Ferrell starred in the move, Elf, in which a 6-foot tall elf raised at the North Pole by Santa's elfen compadres, is sent to New York to be reunited with his real family. While Elf the Musical may sound like a joke title, it is an actual script with songs and a workshop cast that presented a well-received reading just last week.

The larger than usual elf, "Buddy," was played by Christian Anderson with George Wendt as "Santa Claus," Mark Jacoby as Buddy's father, and Beth Leavel playing Buddy's mother. Produced by Warner Brothers, the presentation was more than the average reading and included blocking and props. Directed by Spamalot choreographer, Casey Nicholow, the book was written by Thomas Meehan (The Producers, Hairspray) and Bob Martin (The Drowsy Chaperone) and features better than expected songs by The Wedding Singer tuneful team, Matthew Sklar and Shad Beguelin.

Shows that have a limited focus do not usually have a long run on Broadway, and Elf the Musical may not endure as a year-round B'way staple. However, if it is a good show, it may be mounted in limited runs each holiday season. Or it could be alternated with recent winter wonderland productions of White Christmas and The Grinch.

Regardless, it will become a welcome entre` into the limited "holiday show" catalogue in secondary licensing. Elf the Musical could become a holiday classic for companies around the country, and a nice musical divertissement from the holiday perennial, It's a Wonderful Life.

Source:
http://www.nypost.com/p/entertainment/theater/no_lack_of_elf_esteem_Wyy4C1Zov8KiYBfmX2BcUK

GUESTS: "Modern Music" & "The American Theatre Wing"

"Musical Theatre Talk with Trish Causey" is wrapping up 2009 with a big bow of fabulousness this week when I talk with Broadway veterans and afficiados extreme!

Friday, Dec. 18, at 5 pm EST/ 4 pm CST, Broadway veteran and Musical Director to 4 Presidents of the United States, Chapman Roberts, joins me as does the Musical Director for the Broadway smash, "Memphis," Kenny J. Seymour. "Modern Music in Musical Theatre" is the topic, so set aside your notions of what Musical Theatre means because the "sound of music" on Broadway is Modern!

Sunday, Dec. 20, at 5 pm EST/ 4 pm CST, we explore the programs and services of the invaluable, "American Theatre Wing," when I'm joined by Executive Director, Howard Sherman, and Board Member and veteran performer, Lucie Arnaz. As you'll hear, the ATW does more than just pass out Tonys (but those are really cool, too!).

Stay tuned for more shows and guests to be announced for January 2010, starting with the Jan. 10th show, "Ear-Nose-Throat issues for Singers," and "Breathing Support Techniques" on Jan. 24!