May 28: May Birthday Showcase

Again we go through the list of actor/singers born in the month of May, just an excuse to pause and get to know some stage and screen performers of the past and present.

Ezio Pinza - Some Enchanted Evening, South Pacific (Golden Memories of Stage & Screen)
Theodore Bikel - Edelweiss, The Sound of Music [Original Broadway Cast]
Bea Arthur - Barbara Song, Threepenny Opera
with Angela Lansbury - Bosom Buddies - Mame
Peggy Lee - The Siamese Cat Song and He's A Tramp, Lady and the Tramp
Nancy Walker - I Can Cook Too, On the Town (Star Spangled Rhythm [Smithsonian] Disc 2)
Milkman Keep Them Bottles Quiet, Broadway Rhythm
Fred Astaire - Steppin' Out With My Baby, (Fred Astaire at MGM Disc 1)
Let's Face the Music and Dance, (Star Spangled Rhythm [Smithsonian] Disc 2)
Bing Crosby - Evelina, Bloomer Girl (publicity 'pop' version)
Alice Faye - Never Say No to a Man, State Fair
Don Ameche with Hildegarde Neff - Paris Loves Lovers and All of You, Silk Stockings
Tonya Pinkins - Mood Indigo, Play On

May 23: Once Upon a Time - A Cinderella Story

Cinderella is one of the most-told tales in song. There's the wonderful Rodgers & Hammerstein television classic, the stage version of the R&H special developed for London, the Disney film, and Into the Woods. In honor of the Spokane Children's Theatre's production (check out Michael Breckenridge's review and photos), we visit the story of Cinderella and other songs of make-believe.

Satin Gown and Silver Shoe (Lullaby) - Celeste Holm, Bloomer Girl
A Dream Is a Wish Your Heart Makes - Ilene Woods/Mice Chorus, Disney's Cinderella
In My Own Little Corner - Julie Andrews, A Little Bit of Broadway (R&H Cinderella)
I'm in the Middle of a Muddle - Demo Recording, Disney's Cinderella
Your Majesties, A List of Bare Necessities - Enid Lowe/Jimmy Edwards, Cinderella OLC
Cinderella Prologue - Janean's custom edit of Cinderella-related parts of the Prologue, featuring the OBC of Into the Woods
Impossible - Betty Marsden and Yana, Cinderella OLC
Bibbidi-Bobbidi-Boo (The Magic Song) - Verna Felton, Disney's Cinderella on Disney's Greatest, Vol. 1
So This Is Love (The Cinderella Waltz) - Ilene Woods/Mike Douglas, Disney's Cinderella
Do I Love You Because You're Beautiful? - Bruce Trent and Yana, Cinderella OLC
On the Steps of the Palace - Kim Crosby, Into the Woods OBC
Agony - Clive Carter/Mark Tinkler, Into the Woods OLC
Stepsisters' Lament - Lynne Wintersteller and Victoria Clark, A Grand Night for Singing
A Lovely Night - Julie Andrews, A Little Bit of Broadway (R&H Cinderella)
I Could Have Danced All Night - Julie Andrews, My Fair Lady
Happily Ever After - Carol Burnette, Once Upon a Mattress
Where in the World Is My Prince? - Faith Prince, Miss Spectacular
Thumbelina - Danny Kaye, Hans Christian Andersen
Little Lady Make Believe - Eddie Cantor, Cocktail Hour
The Age of Not Believing - Bedknobs & Broomsticks (CD: The Sherman Brothers)

May 9: Rodgers and Hammerstein

Okay, how do you explore the incredible work of Richard Rodgers and Oscar Hammerstein II in only 52 minutes? You really don't ;-) You mix some of their big hits with songs hardly anyone has heard of. Hope you enjoyed a trip back to the '40s and '50s.

Oklahoma: Oh, What a Beautiful Morning from Alfred Drake
State Fair (film): It Might as Well Be Spring from Louanne Hogan
State Fair OBC: The Next Time It Happens from Andrea McArdle
State Fair OBC: You Never Had It So Good from Donna McKechnie
A Grand Night for Singing: That's the Way It Happens/All at Once You Love Her/Some Enchanted Evening
A Hundred Million Miracles/When the Children Are Asleep/I Know It
When You're Driving Through the Moonlight/A Lovely Night
The King and I: A Puzzlement from Yul Brynner
A Grand Night for Singing: So Far from Alyson Reed
Carousel: You'll Never Walk Alone from Eileen Farrell
The Sound of Music: title song from Mary Martin
The Sound of Music: Do Re Mi from Julie Andrews

Does Janean have "Hostiness?"

The "Public Radio Talent Quest" is the nationwide search for new public radio hosts. Like the "This isn't your father's Cadillac" campaign, public radio needs a little new blood injected (as long as it retains the core values of public radio. Curiosity with personality).

Like most of the 'reality' game shows on TV, the talent quest starts out with an open call for submissions. By early June, judges (and the voting public) will narrow it down to TEN contestants for the second round. Those in each of the four rounds receive cash prizes. Hey, $500 will buy a lot of CDs for Matinee.

I have finally put in an entry. The first round is essentially looking for a contestant's "Hostiness." As they said on the site, "We want to hear who you are. Show the judges and the public the elements of your personality that make people look forward to spending time with you. It's what we're calling "hostiness," and it includes people who are: Engaging, smart, curious, surprising, honest, intriguing, have sense of humor, clever, authentic, human, real, trustworthy, knowledgeable, maybe even someone you'd have dinner with. In short - it's a lot like dating. You gotta make a great first impression to get past Round 1."

In short, I'd love it if you would register, and then find my entry ("Janean") and vote. Or you can just listen to my entry, which one person called "Busting with Hostiness" (or was that "Hosting with Bustiness?")

May 2: Rock Musicals

I loved Verne Windham's comment about today's show: "Janean's playing Rock Musicals - take it as a warning or as an invitation." Hope you enjoyed a different taste of music the stage has to offer.

Hair - "Ain't Got No" and "Aquarius," Original Cast
Two Gentlemen of Verona - "Summer Summer," Original Cast
Tommy - "Pinball Wizard," Original Cast
Jesus Christ Superstar - title track, Murray Head
Rocky Horror Show - "Time Warp," Original Cast
The Wiz - "Don't Nobody Bring Me No Bad News"
Evita - "The Lady's Got Potential," Colm Wilkinson (YES, as in Jean Valjean! He's credited as "CT Wilkinson")
Rent - "What You Own"
Spring Awakening - "Don't Do Sadness/Blue Wind"
Hedwig and the Angry Inch - "Tear Me Down," "Wicked Little Town (Reprise)"

Drama Desk Awards

Drama Desk Award nominations were announced this morning. It's not "The Tonys^®" and it's not such an exclusive club, either. The Drama Desk panel covers Off-Broadway, Off-Off-Broadway, and legitimate not-for-profit theatres in all the NYC area. The nominations are a nice review of what was notable in the past year.

The winners are announced May 20 at their gala ceremony, hosted this year by one of my favorite performers, Kristin Chenoweth. They'll webcast live on TheaterMania.com. The NYC PBS station WNET plans to tape the show and offer it to PBS stations for subsequent airing. (No clue if any of the Inland Northwest stations plan to air it, I ask them PLEASE to do so.)

The hot talk of the nominations is LoveMusik, a musical using songs by Kurt Weill. It's based on the "unlikely" love between the brilliant German composer and the street girl who became his muse and star, Lotte Lenya. Michael Cerveris plays Weill, Donna Murphy portrays Lenya. It received 12 nominations, and it hasn't even officially opened yet (it's in previews now, opening is May 3).

Kander & Ebb's Curtains, the latest screen-t0-stage transfer Legally Blonde, and the sexy Spring Awakening all received 10 nominations.

Speaking of Kander & Ebb, the longtime partnership (continuing posthumously with Curtains, with Fred Ebb's death in 2004) is being recognized with a special achievement award.

And a neat note for public radio fans: the Capitol Steps earned a nominee in "Best Lyrics" category. If you haven't listened to their political satire and parodies during their four specials airing on KPBX, KSFC, and other public radio stations, check out their clever wordplay at capsteps.com.

The musical-related nominees are:

Outstanding Musical:
Curtains - Broadway, the murder-mystery-comedy play within a musical
In the Heights - Off-Broadway debut of a 27-year-old Dominican/Cuban composer mixing salsa, meringue, hip-hop and other musical styles with traditional Broadway fare.
Legally Blonde -
LoveMusik
Mary Poppins
Spring Awakening

Outstanding Revival of a Musical:
110 in the Shade
The Apple Tree
Company
Di Yam Gazlonim!
H.M.S. Pinafore
Les Miserables

Outstanding Actor in a Musical:
Michael Cerveris, LoveMusik
Raul Esparza, Company
John Gallagher, Jr., Spring Awakening
Jonathan Groff, Spring Awakening
David Hyde Pierce, Curtains
Martin Short, Martin Short: Fame Becomes Me

Outstanding Actress in a Musical:
Ashley Brown, Mary Poppins
Laura Bell Bundy, Legally Blonde
Kristin Chenoweth, The Apple Tree
Audra McDonald, 110 in the Shade
Lea Michele, Spring Awakening
Donna Murphy, LoveMusik

Outstanding Featured Actor in a Musical:
Brooks Ashmankas, Martin Short: Fame Becomes Me
Christian Borle, Legally Blonde
Aaron Lazar, Les Miserables
Gavin Lee, Mary Poppins
Orville Mendoza, Adrift in Macao
David Pittu, LoveMusik

Outstanding Featured Actress in a Musical:
Linda Balgord, The Pirate Queen
Celia Keenan-Bolger, Les Miserables
Debra Monk, Curtains
Orfeh, Legally Blonde
Barbara Walsh, Company
Karen Ziemba, Curtains

Outstanding Director of a Musical:
John Doyle, Company
Thomas Kail, In the Heights
Michael Mayer, Spring Awakening
Jerry Mitchell, Legally Blonde
Harold Prince, LoveMusik
Alex Timbers, Gutenberg! The Musical!

Outstanding Choreography:
Patricia Birch, LoveMusik
Andy Blankenbuehler, In the Heights
Matthew Bourne, Edward Scissorhands
Matthew Bourne and Stephen Mear, Mary Poppins
Bill T. Jones, Spring Awakening
Jerry Mitchell, Legally Blonde

Outstanding Music:
John Kander, Curtains
Paul Leschen, Twist: Please, Sir, May I Have Some More?
Peter Melnick, Adrift in Macao
Lin-Manuel Miranda, In the Heights
Laurence O’Keefe and Nell Benjamin, Legally Blonde
Duncan Sheik, Spring Awakening

Outstanding Lyrics:
Fred Ebb with added lyrics by John Kander and Rupert Holmes, Curtains
Lin-Manuel Miranda, In the Heights
Laurence O’Keefe and Nell Benjamin, Legally Blonde
Steven Sater, Spring Awakening
Bill Strauss, Elaina Newport and Mark Eaton, Capitol Steps
Scott Wittman and Marc Shaiman, Martin Short: Fame Becomes Me

Grey Gardens, a contender for this year's Tony's, is not eligible for the Drama Desk because it transfered from an off-Broadway theater (it was eligible last year and won Best Actress for Christine Ebersole).

Apr 25: Public Radio means Pledge Drives

Twice a year, I go on the air to earn my paycheck. Actually, I don't really get paid anything for doing Matinee, it's mostly a volunteer effort put together between my other 'roles' of marketing, program guide, web site, graphics, event support, etc. Most of the KPBX/KSFC staff members wear multiple hats. But I digress.

Twice a year, I go on the air and ask for donations to support our public radio habit. Wednesday, April 25 was the final day of the Spring '07 Pledge Drive, and the day for Matinee to earn its keep on the airwaves. Thanks to the callers and online pledgers who helped get the beg-a-thon over with!

And congratulations to the listener who won tickets to the season's shows at the Cd'A Summer Theatre. All callers/epledgers from 11-12 were entered into the drawing for tix to Kiss Me Kate, The Full Monty, Putting It Together, and Thoroughly Modern Millie. To give people a reason to pledge, I chose a collection of songs from those shows. The full playlist:

Another Op'nin', Another Show - Kiss Me Kate (1999 Revival)
Buddy's Blues (Bronson Pinchot) - Putting It Together
More (Ruthie Henshall) - Putting It Together
Gimme Gimme (Sutton Foster) - Thoroughly Modern Millie
How The Other Half Lives (Angela Christian, Sutton Foster) - Thoroughly Modern Millie
You Walk With Me (Jason Danieley, Ted Sperling) - The Full Monty
Life With Harold (Emily Skinner) - The Full Monty
Too Darn Hot (Eddie Sledge, Fred Davis, Lorenzo Fuller) - Kiss Me Kate
Wunderbar (Brian Stokes Mitchell and Marin Mazzie) - Kiss Me Kate (1999 Revival)

By the way, at the end of Wednesday we also gave away a package of tickets donated by Spokane Civic Theatre, Lake City Playhouse, and the Coeur d'Alene Summer Theatre season. Thanks to all of them for showing their support for Spokane Public Radio.

Hedwig to happen at Bayou

So you think Hedwig is the name of Harry Potter's owl? Then this show might not be for you (at least, it's not for the child in you).

This Hedwig is a transgender punk rock singer created by John Cameron Mitchell. The 'rock concert' is actually "an adult, thought-provoking musical about the quest for individuality," as a NY Times reviewer put it. The movie based on the stage show has a cult following, but it's great to have that heart-pounding beat live in person.

We're getting the chance. Tessa Gregory of e.v.e. productions plans to launch a Spokane production of Hedwig and the Angry Inch in Spokane during Pride Week. Performances are Friday June 8 at 8 p.m., Saturday June 9 at 8 p.m., and Sunday June 10 at 4 p.m. It'll be at the Ignite space, the former Fat Tuesdays/Bayou Brewery at Hamilton and Trent. Tickets are $15, proceeds benefit the LGBT Center (formerly the Rainbow Regional Community Center). More at this website.

Apr 18: April Actor's Showcase

Today we look through the list of actor/singers born in the month of April, just an excuse to pause and get to know some stage and screen performers of the past and present.

Vivianne Segal: Bewitched, Bothered & Bewildered, Pal Joey revival
Howard Keel: Where's The Mate For Me? (Gambler's Song), Show Boat
Paul Robeson: I Still Suits Me (1947 recording), Show Boat
Barbra Streisand: Miss Marmelstein, I Can Get It For You Wholesale
Shirley MacLaine: I'm a Person Too (Some Came Running), Shirley MacLaine In Concert
Carol Burnett: Shy, Once Upon A Mattress
Carol Burnett: Nobody, Carol Burnett Sings
Joel Gray: Mister Cellophane, Chicago Revival
Liz Callaway: Meadowlark (The Baker's Wife), The Story Goes On
Patti LuPone: Where is the Warmth, The Baker's Wife
John Cameron Mitchell: Winter's On the Wing, The Secret Garden
John Cameron Mitchell: Wig in a Box, Hedwig And The Angry Inch
Tim Curry: I'm All Alone, Spamalot

Okay, why didn't I pair John Cameron Mitchell "Hedwig" with Tim Curry "Rocky Horror?" Main reason is that I'm saving it for two weeks from now, when I do rock musicals.

Something I didn't have time to point out - I paired Mister Cellophane with Nobody purposefully. The song intent is the same, and Bob Fosse staged Cellophane just like Burt Williams would have sung Nobody. Williams was a black man singing in blackface, with the traditional white gloves and black hat. During Cellophane, Amos pulls out a hat and puts on the gloves, and does the swaying that Williams would have done. Subtle, but appreciated. (Someday I'll have to compare early vaudeville with more modern tributes.)

Rare chance to see Lonely Planet, more Assassins fundraisers

The road to national competition is paved with some excellent theater opportunities. Civic and the cast of Assassins is raising money to get to the national festival -- like the World Series of Community Theater. It's not cheap to take a dozen people to Charlotte, NC. The cast and crew of Assassins is multi-talented, and they're combining their efforts to put on some impressive fund raisers.

As mentioned before, Assassins will play on the Civic Main Stage on April 28.

On May 9 and 13, Lonely Planet returns to the Studio Theater, at least in Readers Theater form. Troy Nickerson and Thomas Heppler took this poignant, beautiful show to nationals in '99 and practically swept all the awards -- for good reason. They also SHARED the "best actor" prize -- they're the only two performers in this piece. Reader's Theater means they use their scripts and no set, but I hope they manage to use the one set of props that adds a heart-wrenching visualization of current events. (What, you think I'm gonna spill and spoil it for you?)

On June 3, Abbey Crawford will perform her cabaret "Food, Glorious Food" at the Studio Theater TWICE -- early show at 7:30, late show at 9:30. Abbey was invited into the Cabaret Conference At Yale and performs around the area when possible (she's now half of the morning team at KXLY FM)

Tickets to any of these performances are available at Civic, 328-2507. Again, all proceeds go to taking Assassins to competition. By the way, Civic would also appreciate any donations to help raise competition funds, including donations of Airline Miles. IF you can help, contact Yvonne at 325-1413.

Apr 11: Record Breakers

The Cats tour coming to town is still advertising itself as "the longest-running musical." That is wrong on a few different counts. It was the longest-running show on Broadway and the West End until a little more than a year ago. And the longest-running musical period was Off-Broadway. So what ARE the record-breakers of the past?

This was one of those shows that was just hard to get off the ground. Information has been muddled through well-meaning but mistaken promotional people for so long that the only way to confirm the early record-holders was comparing dates and performance numbers on Internet Broadway Database (ibdb.com). The results were a little surprising. Each of these shows was knocked off by the next show, EXCEPT for the ones marked Off Broadway and Les Miz -- that's London's top spot.

Alice Blue Gown (Irene) - Edith Day, Smithsonian American Musical Theater V1
Oklahoma - Oklahoma OBC
Wouldn't It Be Loverly - Julie Andrews, My Fair Lady
Pirate Jenny - Lotte Lenya, Threepenny Opera (Off Broadway)
I Put My Hand In - Carol Channing, Hello, Dolly!
Matchmaker - Fiddler On The Roof
Those Magic Changes - Grease
Hello 12 Hello 13 Hello Love (radio edit) - A Chorus Line
Stop Cats! A Chorus Cat - Forbidden Broadway Strikes Back (longest revue)
Gus: The Theatre Cat - Cats (Broadway)
The Music of the Night - Michael Crawford, The Phantom of the Opera
Do You Hear The People Sing? - Les Miserables Original London Cast
Much More - Rita Gardner, The Fantasticks [1960 Original Off-Broadway Cast]

I couldn't fit in Chicago, the longest-running revival.

I am VERY sorry about the technical difficulties today. After realizing I only had the GERMAN version of Pirate Jenny, so I purchased Lotte Lenya's English performance off of one of those on-line music services. That was a mistake -- the skipping and were terrible. And to think I paid almost a buck for that.... I also had popping and digital skips while recording the comments, and in re-recording two of the personal commentaries messed up.... Hope you enjoyed what you were able to hear anyway.

By the way, I'm also on a personal hunt for the CD of Threepenny. I had a tape of the album back in '93 when I was Lucy Brown, and I really want to share more of those songs with you.

Musical Variety

I've been participating in an online bulletin board for people interested in the Public Radio Talent Contest (more on that soon). I posed the question, what musicals do the other participants like? It's not my usual theatrical audience, so I was curious what others producing radio like.

I've gotten three answers: Hedwig and the Angry Inch, Les Miserables, and Disney Musicals (particularly Aladdin).

Now this is diversity. The squeaky-clean Disney universe, the most-loved long-running musical, and a fascinating rock show about a punk singer with a botched sex-change operation.

Hedwig: Rocky Horror move over. Hedwig is another obscure off-Broadway rock musical show turned into a movie (with a cult following), but what music! I'm not a "punk" or hard-rock kind of person because I don't like overamped distortion and I want to know what the lyrics are. Hedwig gives me a melody I can hang on to, a surfboard on the ocean of pounding instruments. It's a wild ride I love. I really like Wig In a Box, it's the same concept as 'A Little More Mascara' from "La Cage" with great music. (Ever heard songs from the stage show Secret Garden? Sweet nature-boy Dickon is the same man behind Hedwig, John Cameron Mitchell. That blows my mind.)

Les Miserables: "Do you hear the people sing, singing the hit shows from Les Mis? Even the great Andrew Lloyd Webber wished the songs were really his" (parody from Forbidden Broadway) Even after 22 years of saturating the world with its pathos and passion, still one of the best-loved shows, for good reason. High drama, noble characters despite their social status (except the comic relief of the Thernardiers). I like the latter recordings, particularly the 10th Anniversary concert, because of the full orchestration. The original synthesizers in 1985 are too tinny for my liking.
Truly it's the most religious musical: heartfelt prayers to God, actions done in religious fervor, and philosophy ("to love another person is to see the face of God"). God is practically a character. Superstar and Godspell are about Jesus, but one is about the man, the other about his teachings, not nearly to the level Les Mis gets at.

Disney Musicals: I love Disney musicals too. I like feeling like a kid, but some of the songs have such sophistication I don't feel guilty.
The Sherman Brothers should be household names. So many of the classic Disney songs were written by Robert and Richard, their songs certainly contributed to the Golden Age of Disney (Mary Poppins, Winnie the Pooh to name a couple). I'll do a show on the Sherman Brothers before long, with stuff that will really surprise you.
When Little Mermaid came around, Disney was smart enough to look at Broadway for musical inspiration. Two guys with a funny take on the old B-movie "Little Shop of Horrors" were hired to give the Mermaid voice. Alan Menken and Howard Ashman went on to the outstanding Beauty and the Beast, and began work on Aladdin. When lyricist Ashman died, they brought in Tim Rice, lyricist for Jesus Christ Superstar, Evita, Joseph ... Dreamcoat, and Chess. He and Elton John also went on to do The Lion King and the Disney-produced stage show Aida.
The prominent Disney songwriting team these days is Alan Menken and lyricist/composer Stephen Schwartz (Godspell, Pippin, Wicked). The two started with Pocahontas, then Hunchback, and Enchanted (due this summer). He also wrote "Geppetto," a 2000 Disney Channel movie on Pinocchio. That's now a stage show called "Geppetto and Son," incorporating the classic songs from Pinocchio. Can't wait to take my kid to that one!

This is an example of three different genres in the musical theater catalog. New romantic favorites, classic family fare, and the rock musical. None are played on commercial radio. That kind of a mix wouldn't even be on satellite radio or the internet 'stations' that are in danger of being priced out of existence. But you CAN hear it with public radio. Thanks for listening and supporting our endeavors.

Attend the tale of AACT's musicals

The productions that are chosen to go to the national AACT competition are usually plays, not musicals. One exception to this was "Pinocchio," a children's musical from Spokane Children's Theatre.

Region IX is represented in AACT Fest '07 by Civic's Assassins, as reported earlier. The only other musical in the competition is from Region IV. The Manatee Players of Bradenton, Florida present a scaled-down Sweeney Todd.

That's right, the only two musicals in competition are both dark Sondheim musicals about murders.

One more Assassins performance Apr. 28

Spokane Civic Theatre's production of Assassins received the “Best in Region” award at the 2007 Kaleidoscope Regional Community Theatre Festival at the end of March. It now moves on to Charlotte, NC in mid-June to compete in the national competition.

The production was sold out in the small Studio Theatre, so the Civic is giving audiences one more opportunity to see it, this time in the larger Main Stage. The special performance takes place Saturday, April 28 at 8 p.m. The proceeds benefit the traveling competition production.

Assassins received the “Best in Region” award at the Region IX AACT/Fest 2007 in Tacoma, WA on Saturday, March 31. Performers George Green (Lee Harvey Oswald) and Patrick McHenry-Kroetch (John Wilkes Booth) also received recognition at the festival for individual performance awards as part of Region IX’s “All Star Cast.”

Spokane Civic Theatre previously won the “Best in State” award at the Washington State Festival, Kaleidoscope 2007, in Walla Walla, WA, on Sunday, March 11, which solidified its advancement to the regional competition. By securing the “Best in Region” award in Tacoma, Assassins will now advance to the national competition.

In the past, Spokane Civic Theatre’s involvement in AACT led to its “Best in Nation” titles for the productions of Lonely Planet (1999) and Getting Out (1989). Spokane Civic Theatre is the only community theatre in the country to place “Best in Nation” twice.

Bernadette Peters in Spokane Oct. 13

Big news from the Spokane Symphony this morning, unveiling their 2007-08 season. The headliner for the SuperPops series is a super celebrity -- two-time Tony award-winner Bernadette Peters performs her concert Oct. 13, 8 p.m., at the INB Center.

Annie Matlow, head of marketing for the Symphony, was in the building this morning talking with Verne Windham about the season of concerts and the move from the INB to the newly-remodeled Fox Theater this November. Season subscriptions go on sale today.

Other concerts of interest to Broadway lovers:
Three Mo' Tenors (Feb. 2 '08): The showcase of African-American tenors and eight different musical styles, including classical opera, blues, gospel, and showtunes. A CD of some concert selections includes "Make Them Hear You," from Ragtime, and Sondheim's "Being Alive." Several other songs appeared on Broadway through musical revues of popular blues and jazz, including the title to Five Guys Named Moe (slightly reworked to fit the Mo' theme of the evening) and Let the Good Times Roll. By the way, there are two "equally outstanding casts" rotating through the schedule, hence the lack of faces on the advertisements.

Tonight -- Bernstein's Broadway (May 10 '08): The Spokane Symphony has been using guest vocalists to showcase the music of particular composers; two seasons ago it was Gershwin, this spring it was Andrew Lloyd Webber. They continue the new tradition with "popular scenes and songs" from Bernstein's "Greatest Hits." Hey Morihiko: how about some of his lovely non-hits, like 1600 Pennsylvania Avenue, and his version of Peter Pan?

The big deal for showtune fans, though, is the Bernadette concert for Oct. 13. According to reports from Playbill.com, her concerts include Peters' renditions of two Gypsy tunes, "Let Me Entertain You" and "Rose's Turn," as well as songs by Stephen Sondheim ("Children Will Listen" and "Not a Day Goes By"), Rodgers and Hammerstein ("Some Enchanted Evening") and Jerry Herman ("Time Heals Everything"). Concertgoers can also expect tunes by Andrew Lloyd Webber and Irving Berlin as well as the Peggy Lee classic "Fever." Peters was in the Northwest around Valentine's Day, performing in Southern Oregon. A review of that concert is online.

The bottom line: Individual tickets go on sale this August, no word on what the individual price will be. Based on the difference between the Headliner Series (6 concerts) and the SuperPops Series (5 concerts) looks like the four prices will be $50, $40, $30, and $25. There are several combinations available, if classical music or the other pops series interest you.

Custom song edits on Matinee

Today's show on lyricist Yip Harburg includes a special edit combining the "If I Only Had A..." songs of the Wizard of Oz. As fans of the movie recall, Dorothy comes across her Oz friends one at a time on the Yellow Brick Road, and each is introduced with their own verse, followed by a dancing segment and the theme, "We're off to see the wizard...." While the music is charming, the point of the Matinee show was to feature Harburg's words. A few minutes with a digital editing program, and we get a three-and-a-half minute piece with the classic lyrics.

This happens more frequently than I let on, to be completely honest. Even in the Jitterbug, the an outtake from the Wizard of Oz, the dance sequence goes on a very long time. It's fun to listen to the whole thing occasionally, but not on the radio when I want to get on to the next song. Mark the start and end of the cut, hit delete, and we have a new version of the song.

It's also necessary to make some changes to songs that contain certain language. The rules aren't mine, but technically the airwaves aren't mine either. Swear words have a shock effect, and are appropriate at times on the stage, but not on the radio. Most importantly, the fines are retroactive -- IF we get a valid complaint, THEN we are fined by the F.C.C. There are also no clear guidelines as to what is and is not allowed on the air. Without the legal means to appeal a fine, or the finances to pay the hefty fines, we are forced to censor ourselves, and err on the side of caution. When there is a song worth sharing but it contains objectionable language, I'm forced to cut out the word(s) and insert silence there. I didn't have to do that in today's show, but I have several examples from previous shows.

Incidentally, I do not have the rights to distribute my own special edits of songs in any way except by playing them occasionally on the radio. If you have heard something that's not available on a CD and would like to hear it again, feel free to post a comment on the blog here. Thanks for listening!

Apr 4: Yip Harburg

A dozen or so years ago, the Lake City Playhouse in Coeur d'Alene had a summer season. One of the shows performed was The Big Broadcast, a show featuring songs and skits from the golden age of radio. I was lucky enough to be in the ensemble cast, going through American history as it was told to families gathered around their large living room radio set. At one point we danced on the stage singing "The Best Things In Life Are Free," then as we faded the chorus, I sat down quietly in a rocking chair and started in on, "Once I built a railroad, made it run, made it race against time. Once I built a railroad, now it's done... Buddy, can you spare a dime?" It was one of the most moving songs in the entire show, all because of Yip Harburg's vivid imagery. He tapped into the hidden American psyche of the time, yet created a timeless call to social justice. This song has been recorded by everyone from Spokane son Bing Crosby to pop icon Barbra Streisand, and it's still used to give voice to the voiceless. Yip Harburg's work is example that it IS possible to create entertainment while staying true to one's beliefs and sending a message.

Brother, Can You Spare A Dime? sung by the lyricist
April in Paris (from Walk a Little Faster) - Dawn Upshaw Sings Vernon Duke
Fun To Be Fooled - Bea Arthur On Broadway: Just Between Friends
You're A Builder Upper - Ethel Merman, You're The Top
Only a Paper Moon - Cliff Edwards
I Love To Sing-A (from The Singing Kid) - Al Jolson At Warner Bros. 1926-1936
Down With Love - Audra McDonald on The Leading Ladies
Over The Rainbow - RSC Stage production of The Wizard Of OZ
If I Only Had A Brain, Heart, the Nerve/Off to See the Wizard - special edit compiled from The Wizard Of OZ film soundtrack
The Jitterbug (cut from the film) - The Wizard Of OZ
Ain' It The Truth (outtake) - Louis Armstrong, Cabin in the Sky
The Eagle And Me - Dooley Wilson, Bloomer Girl
When The Idle Poor Become The Idle Rich - Melissa Errico, Finian's Rainbow (Irish Repertory 2004)
Here's to Your Illusions - Barbara Cook, Flahooley
Little Drops Of Rain (Gay Purr-ee) - Judy Garland In Hollywood: Her Greatest Movie Hits
Look To The Rainbow - Melissa Errico, Finian's Rainbow (Irish Repertory 2004)

Aida

Elton John's musical began its Spokane stop last night at the INB Center. Aida's production values are great -- a mature cast with strong singing, acting and dancing, fabulous set and stage lighting.

Amneris must be a fun character to play, with elements of Julie Brown's song "I'm A Blonde." Not quite a ditz, but certainly choosing to not be cerebral, her stereotypical growth through the show was nicely played. Aida was just as stereotypically strong, but a few nuances here and there. Both actresses have nice singing voices, and carried their solos and group numbers well. Ramades, well, he was the love interest baring his soul, and his chest, frequently. His acting was a little overwrought for me, and he's got the rock singing style down... which means I could barely understand him.

That's not really his fault. The lyrics almost always get lost in a rock style. Wailing, whining, scooping, slurring, it's all part of the music. It's hard to understand on the cast albums, too. For example, "Fortune Favors the Brave" becomes "farton fayva duh baaaaaaaay." Considering how many times that refrain is sung at the beginning, it's a good thing that it's printed in the program. The staging of course makes the song's intent pretty obvious, but as a wordsmith I love the nuances of lyrics; ya don't get that with Aida, even though Tim Rice ("Sir Tim to you") is pretty clever with a phrase.

And I admit, I'm not a fan of the script. I don't know much about the plot twists in the opera, or how they're presented, but having major plot elements spin on a dime based on one line that comes out of left field is pretty ridiculous. But that's not the fault of this production.

I truly loved the set. A two-story set with balcony, and large window filled with pyramid-shaped panes, clean and smooth lines. Six moving pedestals with ancient-looking statues changed the look enough to distinguish new scenes or locations. Excellent lighting effects through the window changed the moods effectively (I's a sucker for blue sky and realistic clouds). (I have to say I felt sorry for the (new?) spotlight operator who had trouble getting the tight focus on the actor's head and shoulders only. I hear from my lighting-designer husband that it's very tough to get it right from that distance.)

This production incorporated several modern elements into the costumes and props, something that I hear wasn't done in the original production. They were frankly distracting. It's an interesting concept, and they might have worked if the prologue/epilogue were different. The show opens and closes in the present, and in between we are supposed to be transported to the ancient Nubia of the museum exhibit. How can we do that with AK-47s and blue jeans?

Aida is what Jesus Christ Superstar would have sounded like if Tim Rice had written it with Sir John's music instead of Sir Andrew Lloyd Webber. The emotional elements are the same -- scenes of the ill and downtrodden begging for their leader to save them; Amneris could have been singing I Don't Know How To Love Him instead of I Know the Truth; the guys all showing off for their leader; the Pharaoh handing down a sentence of death... Different plot, different characters, different love triangle, but similar motivations.

Overall, I'm glad I saw it, I don't need to again.
Photos and positive reviews of this tour are at theaidatour.com
And a terribly honest review online here.

WestCoast Best of Broadway Season '07-'08

Silly silly silly Janean. I only picked two of the eight Best of Broadway shows announced as coming to town this next season. I didn't pay enough attention to which shows were Equity and which were non-Equity (the actors are not paid according to union rules, so they are therefore less expensive. As a rule, they are considered the "B" tours, or less quality. That's not necessarily true, but higher chance than not.)

I don't mean to be biting the hand that feeds me -- literally. WestCoast Entertainment put on a lovely luncheon to announce their upcoming musicals, and yours truly was invited. But frankly, for a 20th Anniversary rollout, the delicious lunch on the stage of the INB Center was the best thing about the gathering. My table companions were unimpressed overall.

The best surprise: A special one-night concert with the Chad Mitchell Trio. No kidding! Chad is from Spokane, and still lives here (he performed in Civic Theatre's A Child's Christmas in Wales and was an absolute delight). Mike Kobluk and Joe Frazier met Chad at Gonzaga, and they were a nationwide sensation among folkies in the 1960s. The luncheon featured a great montage of appearances on TV shows of the '60s, including Ed Sullivan. The one concert takes place Oct. 6 at 8 p.m. This is an EXTRA add-on.

Actually, half of the announced shows are add-ons at this point. Nothing was announced for after March 30. My guess is that the April and May shows are still in negotiations. Rather than announce and then change direction, as had to happen last season (the planned Little Shop tour shut down), I would hope they're make arrangements and will make future announcements. Otherwise, we've got a season of four shows for $177.

The pre-picks: Movin' Out (Sep 25-30), and Riverdance.

More on Riverdance: The tour will swing up our way after going through Portland, on its way up to Alberta. Jack Lucas said they worked hard to convince Riverdance to stop in Spokane, and I'm glad they did. This is reportedly the final tour of Riverdance. (or at least the production company is going to give it a nice long break) I will admit that I have watched the video several times and listened to the music, but have never sat in a theatre to watch them live. Considering how much I love to watch the Haran Irish Dancers perform, I think I've been missing out. Performances Jan. 18-20. Again, this is an ADD-ON show.

Dirty Rotten Scoundrels: I thought I'd put this in the pick list, but on second look, I hadn't. I'm very glad this is on its way to Spokane. (We almost saw it in New York last year, but messed up our timing, saw something really bad instead.) I never saw the movie this is based on, but I enjoy the cast album. So I guess I'll have a shock at the start: composer/lyricist David Yazbek wrote a new opening number for this tour, called "The Only Game in Town." Ironically, the song it replaces is called "Give Them What They Want." I hope this isn't an omen of not getting what we want out of this tour. Performances are Oct. 30-Nov 4

Jesus Christ Superstar: The only reason I didn't pick this as a show coming to town is that Ted Neely's "Farewell Tour" has been going on for a while. I thought the 60-year-old might be finished with singing Gethsemane by spring. I should have checked his Wikipedia site -- it's listed there as continuing into 2008 (open-ended). Neely and Superstar was last here in '93 (the first date my hubby and I went on together) and, according to our Wiki friends, is a "stripped-down version with staging and set limited to a few risers." It comes through Spokane Dec. 18-19. This production's booking is done by Troika Entertainment (same group associated with Cats, Chicago, Joseph and Movin' Out)

Speaking of producing companies, this season includes an early start in a first national tour -- HIGHLY unusual. The Wedding Singer began its stage life in Seattle's 5th Avenue before hitting Broadway. It was charming and got a little notice in its eight or nine months on Broadway, mostly because of lead Stephen Lynch. The Road Company is the booking agency, responsible for several A-list tours, specifically Wicked. (Talk about wanting to get in on their good side!) Perhaps the Wedding Singer creatives are fond of the Northwest. In any case, the '80s-style musical comes to Spokane Nov. 27-Dec. 2.

Gypsy is the most ... ambiguous of the productions listed. It's being touted based on its solid score by Jule Styne and Stephen Sondheim lyrics. Whereas most of the video montages publicizing the tours showcased the Broadway stage productions they are based on, this montage featured clip after clip of the film versions (visible at Phoenix Entertainment's site).
I was hoping it was because the production would be based on this summer's Encores series at New York's City Center, which will have Patti LuPone play Mama Rose for a special one-month production this summer.
Phoenix Entertainment -- the group also behind the current television show looking for the next leads in Grease -- is then sending the production on tour, but NOT with LuPone. Rumor has it that Kathy Halenda will portray Mama Rose. She's not a big name, hence the focus on the show itself. Maybe that'll be a refreshing change, seeing Mama Rose as a stage mom and not as a celeb portraying a stage mom. Rumors also say the set pieces and costumes, etc. are coming from the 2003 version with Bernadette Peters. That'll come Feb. 21-24 next year.

The other add-on show finishing the announced season is ... Mamma Mia. Wait, didn't we just bop to this staged concert to ABBA tunes a year ago? Jack Lucas said that WestCoast thought it was too early too, but the producers really really really really wanted to come back to Spokane. (So "back by popular demand" refers to the producers? Do they need to fix their set? Do they want to take a group photo on the carousel or the wagon slide? Was there an untapped audience here who learned about the first showing too late? Will it spark a new debate on jukebox musicals? We'll find out Mar. 25-30 '08.

I'm really surprised that Light in the Piazza and Sweet Charity are not on the list. The main reason is that they are both booked by Network Productions, the same group that shopped around Annie and Hairspray, and is about to bring Rent. Who knows, maybe we'll have some new announcements before too long.

Mar 28: Show Business, part 1.5

In January '06, we did Part 1 of Show Business, songs about stagecraft. Today's show isn't exactly part two, it's a continuation of stage shows, plus mention of the upcoming region 9 festival and the 60th and 40th anniversaries of Civic and Cd'A Summer Theatre, respectively. At some point, I plan a real "part 2," with backlot musicals. For today, however, here's the playlist.

Another Op'nin', Another Show - Kiss Me Kate
Untitled Opening Number and Nine People's Favorite Things - [Title of Show]
Opening Doors - Merrily We Roll Along (York Theatre)
Putting It Together - Putting It Together
Life upon the Wicked Stage - Show Boat 1966 Lincoln Center Cast
I Can Do That, Jeffrey Schecter - A Chorus Line [2006 Broadway Cast]
All I Need Is The Girl, Robert Lambert - Gypsy (1989)
Broadway Baby, Kaye Ballard - Follies : The Paper Mill Playhouse

And preparing for Carousel in Concert, the first show the Carousel Players did in Coeur d'Alene:
June Is Bustin' Out All Over - Carousel, Lincoln Center Revival, 1964

Preparing for Assassins vs. Forever Plaid (vs. Art) this weekend:
Love Is A Many Splendored Thing - Forever Plaid
The Ballad of Guiteau, Denis O'Hare and Neil Patrick Harris - Assassins Broadway)

And goodbye Dorothy and Betty, thanks for all your years of service to Civic and Spokane theatre in general:
What I Did for Love, Natalie Cortez - A Chorus Line [2006 Broadway Cast]