Morgan James' Twitter Commentary

While I like to keep this blog positive, I can’t help but comment on a recent Twitter controversy involving Broadway actress Morgan James’ negative commentary towards The Public Theater’s new production of Into the Woods.  James, who attended the first public preview performance, tweeted (and I’m paraphrasing this as the post has since been removed from twitter) ‘how can you mess up Into the Woods?’ and went on to make negative comments about the production’s acting and musicianship with the hashtag “horrified”, eliciting angry emotions within the Broadway community on Twitter. OUCH. With that said, James has since tweeted a public apology to The Public Theater and members of the production; however, the damage has been done.  The respected Broadway website, playbill.com, posted a report of the controversy which included James’ public twitter apology. I guess if you cross a legend like Stephen Sondheim, you make news on Broadway. 

For years now, people have been sharing too much information through social media. I have little to no interest in much of what shows up in my Facebook or Twitter feeds.  But there is a difference between innocently telling the world that you have to pee and directly insulting your colleague because, unfortunately, that is what Morgan James did when she tweeted her opinion. The Broadway community of actors, musicians, writers, composers, lyricists, choreographers, etc are colleagues that should support the common goal of bringing the arts to the public, first and foremost, by respecting each other. There is the expectation of professionalism with any job, whether it be in the theatre or the office. As a medical professional, I encounter many physicians, nurses, nursing assistants, etc on a daily basis and I don’t necessarily think that they are all great physicians, nurses, and nursing assistants. BUT. If I took to twitter and tweeted that Dr. Jones is a horrible doctor and I wouldn’t let him take care of my dog, I would be in serious trouble. I could lose my job and my credibility. AND since I may or may not be correct in my opinion, I could destroy the career of an excellent physician. In any profession, there is the expectation of professionalism that should supersede the powerful thing that is Twitter (or Facebook). 

While I know this example is a little extreme when compared to Morgan James’ comments, I am trying to emphasize the necessity of thinking before tweeting and being professional.  No doubt, she has ticked off some of her colleagues. Was it intentional?  OF COURSE NOT. Will these colleagues come out and support her in her next show?  Will they jump to work with her if the opportunity comes along? Maybe... but maybe not. Will Stephen Sondheim cast her in one of his productions?  I’d be shocked if he did. Here we have a remarkably talented young actress with an insane singing voice, who should be working on Broadway for a long time...... but has she just jeopardized her career? And has this one tweet jeopardized the viability of Into the Woods? I hope not. If anything, the Twitter controversy has made me sad for Morgan James and sad for Into the Woods.  They both deserve the chance for a long Broadway life, and a simple tweet destroying that chance is what would be truly “horrifying”.   

And so I conclude this blog by saying, keep it positive. Be professional. Think before you speak (or tweet). And most importantly, SUPPORT THEATRE!!!!  

BOOK REVIEW by Guest Blogger Hayley

A Purple Summer: Notes on the Lyrics of Spring Awakening 

Everything you know, didn’t know, or thought you knew on the words of Spring Awakening 

It’s no secret that Spring Awakening, like so many others of its kind, has developed a sort of cult following and has been added to the invisible list of shows that even non-theatrical people are obsessed with (you know what I’m talking about). If you’re looking for another book filled with backstage secrets, cast photos, biographies, and costume sketches, this is not the book for you.  Stephen Sater’s A Purple Summer, a quick read of 87 pages, breaks down the lyrics of the show, song by song, in chronological order.  After listing the lyrics, Sater goes on to give notes on the lyrics: explain in detail the inspiration of these songs, what the characters are going through, and how their personal journeys evolve. In many cases, Sater says what the song means to him personally. Sater states “that such notes would be invaluable for maintaining the quality of future productions of our show, when those of us who created it would no longer be near.”  

This has actually been a concern of mine and of many other fans, I’m sure, since its Broadway closing on January 18, 2009 and especially since the closing of the non-Equity tour on May 15, 2011.  What is to become of this beautiful story only complete with this beautiful music and lyrics once high school students venture to butcher the difficult vocals and take out the sex and violence? This is not the kind of Broadway music that one can simply scratch at the surface and apply to the story. This stuff is deep. Therefore, this book is the Godsend for anyone pursuing any of these roles as well as anyone buying tickets to the first local productions everywhere.  You’re welcome.  

If you’re like me and you find absolute enjoyment in deeply analyzing every one of Sater’s words along with the cast recording on long car rides, then this is also the perfect read for you.  Because what the hell is he talking about anyway? If you know anything about Spring Awakening it’s that these lyrics do not merely tell the story, but rather provide insight to the characters.  Why does Melchior keep talking about the stars? What do the stars mean to him? What is the whole “my junk” thing all about?  What’s with all the references to ghosts and angels in practically every single song? The book may not answer all of your questions but it will certainly answer some, and help you make more sense of the show as a piece of art. 

Almost every single song makes some kind of reference to the Bible, ancient Greek mythology, philosophy, and/or Shakespeare, and Sater goes into detail on this incredibly fascinating stuff.  It helped me see the show in a wider context and in a new light.   Many of Sater’s words confirmed my beliefs, but I also learned a lot. For example, did you know that the lyrics of “My Junk” are almost entirely based on a drug rush? You may have, actually, but I certainly did not. 

Spring Awakening is not only among my top favorite musicals ever; it is very near and dear to my heart for many reasons, to the point where there are even lyrics tattooed on my back (and I’m sure those of you who know me well knew that I would not miss the opportunity to throw that in there).  Why aren’t there more books like this?  It would be nice to have a breakdown of every popular Broadway lyric, but the exclusivity is what makes the show that much more special. I can rest a bit easier knowing that Sater has left us this little guide as the show is passed into fresh hands and inevitably eventually somewhat forgotten.  So I recommend this book to anyone even remotely interested in the show and/or anyone looking to play these challenging roles. It will help! If you like to play with words, music and poetry in your free time then you can plow through this book in no more than an hour.  Sater has given us a peek into his vision, “and all shall know the wonder.”  

VIDEO: Angela Lansbury at Broadway Barks 2012!

Dogfight

Off-Broadway

Second Stage Theatre

July 14th, 2012 matinee

Background and Synopsis: Yesterday, I had the pleasure of seeing the new off-Broadway musical, Dogfight, at Second Stage. Set to open on Monday, July 16th, Dogfight is based on the 1991 movie of the same name which starred River Phoenix and Lili Taylor. Directed by Tony Award winner Joe Mantello with a score by Benj Pasek and Justin Paul, and book by Peter Duchan, Dogfight chronicles the events of November 21, 1963, as a group of Marines prepare for one last night of fun before shipping out to Vietnam the next day. When the Marines make a bet on who can find the ugliest date, Eddie Birdlace meets Rose Fenny, a plain, inexperienced waitress, and the cruel game turns into an unusual and unexpected connection between the two. 

Comments: There is something very special about Dogfight- perhaps it is the raw and honest manner in which the characters are written by Peter Duchan. The New York stage has seen many musicals based on movies recently, but not all of them have succeeded as a musical. This production is a great example of a movie that actually works as a musical, much like the Tony Award winning musical, Once. The simple, but compelling story is enhanced by a hauntingly beautiful score written by Benj Pasek and Justin Paul, two fairly new, up and coming composers!  Rather than interrupt the story with big, showy numbers, the music of Dogfight elicits character reflection and propels the story forward. There are many laugh-out-loud moments, the kinds that make you wonder how the actors are keeping straight faces. In fact, Dogfight exemplifies the even balance between drama and comic relief. 

Rose Fenny is played by Lindsay Mendez, recently seen in the Broadway revival of Godspell singing “Bless the Lord”. Known for belting songs out of the vocal stratosphere, Lindsay’s portrayal of Rose is, of course, more subdued than her previous roles, but it definitely accentuated the warmth, richness, and expression in her amazing voice. Lindsay didn’t play Rose as an unattractive, mousy young waitress, but rather as a sheltered, inexperienced, intelligent girl with profound insight into people, specifically Eddie. Derek Klena (of Carrie) played the flawed and hot-tempered Eddie Birdlace. He did a great job of portraying the emotional layers of such a complicated character. 

The supporting cast was also excellent. Standing out were Nick Blaemire as Bernstein, Josh Segarra as Boland, and Annaleigh Ashford as Marcy. In particular, Annaleigh really nailed the comedic timing as Boland’s opportunistic date.  

If you want to see an enjoyable, heartfelt musical with a talented cast and beautiful music written by a pair of promising new composers, please check out Dogfight at Second Stage Theatre. It is not to be missed. 

The Gershwins' Porgy and Bess

Broadway

Richard Rodgers Theatre

Background: Prior to August, 2011, my sole experience of the American folk opera, Porgy and Bess, included a medley of its selections performed by my middle school concert band. At the ripe age of twelve, I would have rather been playing selections from Rent or something less “dated” in my mind, and so the music of Porgy and Bess faded away from my memory until last summer, when it was announced that a new production of The Gershwins’ Porgy and Bess to be directed by Diane Paulus would be playing at the American Repertory Theatre (ART) in Cambridge, MA. Needless to say, I decided it was time for my more cultured adult self to give Porgy and Bess another chance.  I thoroughly enjoyed this cast. Now that they have transferred to Broadway and won a Tony Award for Best Revival, I decided to pay a second visit to Porgy and Bess on the Great White Way.  

Synopsis and History: Porgy and Bess tells the love story of Porgy, a poor, lame, black man living in the destitute community of Catfish Row in Charleston, NC in the 1930’s, and Bess, a flawed and conflicted black woman living in the clutches of her jealous and possessive lover, Crown, and her drug dealer, Sportin’ Life. Despite his physical limitations, Porgy attempts to offer Bess a new life free from Crown and “happy dust”. 

Porgy and Bess is based on the play, Porgy, which is based on DuBose Heyward’s novel of the same name.  After opening at the Colonial Theatre on September 30, 1935, the production transferred to Broadway’s Alvin Theatre on October 10th of the same year, where it ran for 124 performances before beginning a four-city tour.  A talented cast of trained opera singers arrived in Washington DC’s National Theatre only to discover that the theatre did not allow black patrons. The cast refused to perform under such circumstances, which ultimately led to the National Theatre’s desegregation, a milestone at the time. The opera spurred controversy among some African-Americans, who viewed it as a racial stereotype. When the opera opened, many felt that African-Americans were portrayed as violent, uneducated, indigent drug-seekers, which would further validate the stereotype at that time. The Broadway playbill gives a brief, but insightful synopsis of the opera’s history and significance, which I found to be very helpful in understanding the plot.

The Gershwins’ Porgy and Bess has been revised, cut down from its original four-hour duration, and “modernized” by director Diane Paulus, which has also been controversial to some, most notably, Stephen Sondheim. 

Comments: The Gershwins' Porgy and Bess showcases an extremely talented cast at their best. Five-time Tony Award winner Audra McDonald gives a heart-wrenching performance as Bess. Playing Bess eight times per week must be exhausting, but she does it flawlessly. Norm Lewis gave a Tony-worthy performance as the naive, but beloved Porgy, portraying the character’s journey as a victim protected by his neighbors who evolves into a man of great strength. Norm Lewis was the stand-out performer in Porgy and Bess and one of my biggest reasons for seeing the show twice. David Alan Grier is oddly endearing as Bess’ drug dealer Sportin’ Life.  He’s so bad, but you just can’t hate him- maybe because his character provides moments of comic relief in the midst of turmoil and tragedy. I especially appreciated the funny exchanges between him and matriarch Natasha Yvette Williams (Mariah). Phillip Boykin was terrifying as Crown, as he should be.  Nikki Renee Daniels (Clara) and Joshua Henry (Jake) stood out vocally with their performances of “Summertime” and “A Woman Is A Sometime Thing” respectively.  Bryonha Marie Parham’s performance of “My Man’s Gone Now” is theatre at its finest. 

Many critics have argued that Diane Paulus’ revised version of Porgy and Bess has stripped the opera of its essence. Without having seen other productions, I am not able to comment on this belief. What I can tell you is that The Gershwins’ Porgy and Bess offers a powerful score with elements of folk, jazz, spirituals, and blues, enjoyable choreography, and a well-constructed plot, which has been further clarified since ART. In the era of Wicked, Rent, and The Book of Mormon, a four-hour opera with three intermissions may not be appealing to the younger generation of theatre-goers. Diane Paulus’ revisions certainly render the opera more accessible and appealing to that generation, and if this was her goal, then job well done. Regardless of interpretation, Porgy and Bess can forever be appreciated for its preservation of American history and its indelible role in civil rights.