Author Archive for Catherine

Richard Greenberg, “Revived” Again

PLAYBILL.COM’S BRIEF ENCOUNTER With Richard Greenberg
By Robert Simonson
14 Jan 2009

Rare among his generation of American playwrights, Richard Greenberg is seeing major New York revivals of his works before he is eligible for senior citizen discounts.

In 2006, Julia Roberts starred in a Broadway revival of his 1997 play Three Days of Rain. And now, Manhattan Theatre Club has brought back his 1990 work The American Plan — which, incidentally, had its New York premiere at MTC. Mercedes Ruehl and and Lily Rabe star as a mother and daughter of the early 1960s who have different reactions when a young man comes to call at their summer house in the Catskills. Greenberg is also represented on Broadway right now by his long-aborning libretto adaptation of the Rodgers and Hart musical Pal Joey. The prolific and always-busy writer spoke to Playbill.com about the difference between young Richard Greenberg and old Richard Greenberg.

Playbill.com: This is the second time in the past few seasons when a play of yours, which had its debut Off-Broadway several years ago, has been given a revival on Broadway — the first being Three Days of Rain. When you reexamine these works many years after having written them, do they seem like different plays than what you remember?
Richard Greenberg: I can’t say the experience has really been the same for the two. Even though The American Plan was written only six years before Three Days of Rain, they seem like significant years. American Plan seems much further away. American Plan had been done twice at Manhattan Theatre Club, in 1990 and 1991, and then I saw another production of it a year ago in San Diego. So I’ve been gradually pulled back into its sphere. It was very clear to me that it was a play by someone else. I felt a continuity as a writer more with Three Days of Rain. When I went back and made some revisions on The American Plan, I had to stop myself because I realized that I was very different then and that I could compromise the style of the play. I thought, “Well, I wouldn’t write the scene that way now, but that’s the point. Leave it alone.” It is its own play and works on different terms than I work on now.

Playbill.com: How were you different as a writer back then?
RG: Younger. I was younger.

“Broadway Is In Trouble”…According To SNL

Just for fun…

The Reviews Are In….

Although opening night for Pal Joey was three weeks ago, the reviews just keep coming. And boy, are they mixed. We see comments all over the board, from “There is a lot to praise and be thankful for in this smartly refreshed and snappily staged production” (Total Theater); to “The new book… does little harm…Almost everything else, however, is just plain awful” (Village Voice). It’s hard to know who to believe. Why are the reviews so mixed? I believe Robert Hofler’s Variety article helps to put it all into perspective.

‘Pal Joey’ gets mixed response
1940 musical resists a definitive production
By ROBERT HOFLER

The new Joe Mantello-helmed revival of “Pal Joey” has received the kind of reviews that should send any serious theatergoer running to the Studio 54 box office. Not that those notices have been universal raves — such positive critical response is usually reserved for productions that meet expectations rather than challenge them.

Mantello’s “Joey,” on the other hand, is a defiant “Joey,” and the reviews have been all over the map — a fact that should serve as an indicator to legit avids that the material is gutsy enough to warrant attention.

In theory, theater people love this 1940 Rodgers & Hart tuner, but in practice it is one of those flawed shows (like Stephen Sondheim’s 1971 outing “Follies”) that resists a definitive production. Besides, the story of Joey the gigolo, out to bilk an older married lady named Vera, has always been one of the darkest tales to inspire a Broadway tuner. It makes Sondheim’s oeuvre look positively upbeat.

Still, it’s bizarre to see Mantello’s staging pejoratively described as “ruthless,” “joyless” and “unhappy” — as if such qualities don’t compute in musical theater.

One of the controversies of this “Joey” is that its leading man, newcomer Matthew Risch, the understudy who replaced Christian Hoff in the eleventh hour, fails to deliver the requisite dollop of charm to his catting around. Reviewers have compared him with actors they never saw in the role, namely Gene Kelly, or men who have never essayed Joey onstage, including Hugh Jackman, Harry Connick Jr. and, yes, Frank Sinatra, who insisted, among other woeful ideas, that he sing “The Lady Is a Tramp” in the misconceived (and far happier) 1957 film version.

Eric Sciotto; Pal Joey’s Gypsy Robe Recipient

Tradition has always been a huge part of the theatre. The Gypsy Robe is one of these traditions, and is reserved exclusively for the singing and dancing chorus in a Broadway musical. Members of the singing and dancing chorus, if they are lucky, go from one show to another, never staying in a show forever, reminiscent of the gypsies of old.

GYPSY ROBE HISTORY

The Gypsy Robe tradition started in 1950, when Bill Bradley, in the chorus of Gentlemen Prefer Blondes (the long-running smash hit of the day), persuaded a chorus girl to let him have her dressing gown. As a lark, he sent it to a friend on opening night of Call Me Madam (starring Ethel Merman), telling him it had been worn by all the Ziegfeld beauties. The friend added a rose from Ethel Merman’s gown and sent it to a chorus member on the next opening night. It was then passed from show to show in a haphazard way and was often presented to a friend of the previous recipient, or awarded to a chorus member based on popularity. Through the years the passing of the Robe became a specific ceremony with official rules stating how it is presented, worn and paraded on stage.

The ritual begins appropriately, with a cue from the stage manager: “On stage for the Gypsy Robe.” All members of the production (although one story I read stated only members of the chorus – no principals in the “circle”) - some already in make-up and costume - take a place forming a circle on the fringes of the stage. In the center of the circle stand two people; one is a representative of Actors’ Equity, the other, a performer, an honored gypsy, from the previous musical that opened on

Broadway. Those on the fringe listen and watch; for some this is their first experience; for others, it is a ritual they have participated in many times before as they listen anxiously in the event they will be the night’s honoree.

PAL JOEY RUN EXTENDED

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Great news for Pal Joey fans:

Roundabout Theatre Company has announced a two-week extension for its Broadway revival of Pal Joey, which will now play through March 1 at Studio 54.

Martha Plimpton In Newsday

Fast Chat: Martha Plimpton stars in ‘Pal Joey’
January 4, 2009

When last we saw Martha Plimpton on Broadway, she was romancing a Russian revolutionary in “The Coast of Utopia.” Now, she’s making her musical theater debut as sexy chorus girl Gladys Bumps in Rodgers & Hart’s “Pal Joey.” Gladys is a hard-bitten dame with an ax to grind, and hips that follow - she delivers “Zip,” the burlesque send-up of Gypsy Rose Lee made famous a half-century ago by Elaine Stritch. Plimpton, a native New Yorker, sat down recently with Newsday’s Robert Kahn at Studio 54.

After the “Utopia” trilogy, we had you pegged as a dramatic actress. Now, a musical?

It’s newness on a grand scale, so it’s big and dramatic and scary, but that’s what I like. Some friends thought that I could sing, people I work with, like ["Utopia" director] Jack O’Brien. Jack was talking to Joe Mantello [who directs "Joey"] and said “You should think about Martha Plimpton for this.” I don’t know why Jack thought that - he’d never heard me sing.

But it was something that had been percolating?

When I was a kid I started in musical theater, avant-garde downtown stuff with Elizabeth Swados ["Runaways"]. … A few years ago, I met Lucy [Wainwright Roche]. I sang with her at one of her gigs and she asked me to do a song on her EP, so we did a cover of “Hungry Heart.” Then we decided to put together a whole evening based on performing with friends. We did it at the Zipper Factory in August.

So “Pal Joey” is your official coming out.

People will say that, but I’m not a calculator of the things I do. I don’t plan my career. Every time I’ve tried to strategize for success it’s led to nothing. And every time I’ve simply allowed my life to take its natural course, it’s led to a kind of success that is more valuable to me than the kind you get when you “work at it.”

Who was George Tapps?

We said in an earlier post that Harold Lang was the second Joey Evans (1952 production). This is not quite accurate. While it’s true that Gene Kelly was the first Joey in 1940, it is not widely known that Kelly left a couple of months before the show closed on Broadway at the end of November, 1941. His replacement was an accomplished dancer named George Tapps.

Pal Joey was Tapps’ fifth Broadway show but his first as leading man. Immediately before Pal Joey, in a widely-praised performance, Tapps had appeared in the Rodgers & Hart musical, I’d Rather Be Right, starring George M. Cohan.
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George Tapps was born in Washington Heights, New York, as Mortimer Alfonse Becker in 1911. He began his dance career at age 7, and appeared on Broadway for the first time in 1927 at age 16. He later became famous for his acclaimed interpretation of Ravel’s Bolero, which combined ballet with tap, a revolutionary approach.
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Tapps apparently did well as Joey, playing out the remainder of the Broadway run and then touring with the show. Lorenz Hart, however, never liked Tapps in the part and was forceful in telling director George Abbott how he felt, “How could you do this to the show with this terrible man, this Georgie Tapps? How could you do this to me?”
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Abbott responded, “We could afford him.”
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Below is a video of a nightclub number from the 1937 United Artists film, Vogues of 1938. Tapps appears about halfway through the video clip (at timecode 2:40). The song is Oscar-nominated “That Old Feeling,” sung in the film by Virginia Verrill. It is plain to see why Tapps was chosen to replace Gene Kelly in Pal Joey. His performance in this number is electrifying and displays the same type of graceful athleticism that characterized Kelly’s work.
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Tommy Reunion Concert Rocked The House!!

I believe Jack Black said it best in introducing honorees Pete Townshend and Roger Daltrey on the “Kennedy Center Honors” program: “Thank you for blowing our minds and touching our hearts”. Those words express so accurately what the audience felt at the end of The Who’s Tommy reunion concert on December 15th, and what I still feel now, two weeks later. Thank you Donnie Kehr, and the entire original cast of The Who’s Tommy Broadway show, for making this experience possible.

ROCKERS ON BROADWAY

Rockers On Broadway was founded in 1993 by Donnie Kehr during the Broadway run of The Who’s TOMMY, in which he was appearing at the time. Inspired by his collaboration with Pete Townshend, Kehr created Rockers on Broadway, offering musical theater performers an opportunity to sing with a rock band in a concert environment - ultimately creating a raw energy and edge that could be transferred back to the Broadway stage. Kehr remarks, “It is our mission to bring together the worlds of rock ‘n roll and Broadway in a unique way, while supporting inspirational charities including Broadway Cares / Equity Fights Aids, Broadway Dreams Foundation and the Bachmann-Strauss Dystonia and Parkinson Foundation.”

On this 15th anniversary of the opening of “Tommy”, Donnie had the idea to reunite the original cast for this one-night-only event. And they were on board full force: Michael Arnold, Anthony Barrile, Bill Buell, Maria Calabrese, Victoria Cave, Michael Cerveris, Tracy Nicole Chapman, Paul Dobie, Jonathan Dokuchitz, Tom Flynn, Cheryl Freeman, Romaine Fruge, Jody Gelb, Christian Hoff, Todd Hunter, Paul Kandel, Donnie Kehr, Tracey Langran Corea, Lisa Leguillou, Norm Lewis, Marcia Mitzman, Lee Morgan, Alice Ripley, Sherie Rene Scott, Timothy Warmen, with national tour alum Destan Owens appearing for original cast member Michael McElroy. The show was produced by (see photo left) Cori Gardner, Donnie Kehr and Sandy Hicks.

Click here to watch a video of the cast of Tommy performing on the Tony Awards.

THE CONCERT

You could feel the excitement in the air before the show even began. We were all here to witness something special, and we were in good company: spotted in the crowd were Rick Elice (writer, Jersey Boy) whom I had the pleasure of chatting with before the concert; Anne Meara and Jerry Stiller, along with son Ben Stiller and his beautiful wife Christine Taylor; funny lady Caroline Rhea; John Ciarcia, Frank Vincent, Vincent Pastore and “Little Stevie” VanZant (who, I’ve heard, was so caught up in the moment that he was hugging people during the ovation!). And no one was disappointed.

The production was presented concert style with the cast and band on stage during the entire performance. Donnie Kehr started things off by introducing Des McAnuff, director of the original production, who read a letter from Pete Townshend, saying how sorry he was to miss the show, but he was performing in a “Who” concert - I guess we’ll forgive him. From the first notes of the overture, I knew we were in for a wild ride. The emotions of seeing and hearing this story told, with the use of projections and pictures from the original production, are indescribable. Watching David Bologna as young Tommy, sitting completely still and expressionless was heart-wrenching. And when Michael Cerveris ran on to the catwalk suspended above the cast, the power of this show became so obvious. I’ve heard it described as almost a religious experience, and that is truly accurate.

‘By the time Cheryl Freeman made her appearance as the Acid Queen, devouring the stage as if in contention for taking over Tina Turner’s crown, people were clapping along and screaming for each sustained note. In the midst of it, Freeman turned around and caught sight of a production still from 1994 projected on a screen above the stage. There she was in full costume—yellow dress hugging her body, and wig as boisterous as her belting voice—raising her arms up to the stage lights above her. Freeman paused tonight in the midst of her fury. She lifted her hands to the lights above her head, this evening topped off by a much more fashionable bob, and struck the same pose, watching her youthful self float across the projection screens. For a moment it seemed like she let the nostalgia take a hold of her. And we all went there with her.

Donnie, Des McAnuf and Christian, original production photo

Immediately following her number, the theater exploded. Not literally, but it may as well have when the song “Pinball Wizard” started. Christian Hoff and Donnie Kehr began the number and executed a full section of the original choreography by Wayne Cilento to rousing applause from the audience as the music swelled around us. By the time they finished the number, much of the audience was on its feet and for a moment the importance of theater was overwhelming: the way a theatrical experience can become so much more than a collection of performers, lights, and songs. It can become a shared experience, and a time capsule of emotion.’*

By the end of the show, the crowd was in a frenzy. We all felt that we were a vital part of this spectacular, phenomenal show. And in a way we were. When the applause finally ended, and the cast left the stage, the crowd spilled out onto 52nd Street. It seemed no one wanted to leave. The atmosphere was that of a huge, happy street party. Stars mingled in with the crowds, everyone smiling, everyone happy. And there, in his rightful place at the August Wilson stage door, was Christian Hoff, smiling, laughing, hugging old friends. And as always, staying until he was sure he had seen all those who wanted to see him. A gentleman always!

As my husband and I wandered down the street, not wanting the evening to end, I thought to myself “I would give anything to relive that experience.”

* rantingdetails.com
* pics from broadwayworld.com

Pal Joey Curtain Call - November 18

I’ve said it before, and find it true again - you can find anything on YouTube! Here is video footage of one of the few curtain calls that included Christian Hoff.

The Annotated ‘Zip’

The song Zip is one of the highlights of Pal Joey. It is a thinly disguised spoof of striptease artist Gypsy Rose Lee, who had introduced a new “high-class” form of stripping: she recited intellectual patter while taking her clothes off. The song features numerous references to people and things much better known in 1940. We provide here an annotated Zip with the obscure references explained. (There are 18 Notes–you may need to click on the post’s title above to see all of them.)

Zip! Walter Lippmann (1) wasn’t brilliant today.
Zip! Will Saroyan (2) ever write a great play?
Zip! I was reading Schopenhauer (3) last night.
Zip! And I think that Schopenhauer was right.
I don’t want to see Zorina (4),
I don’t want to meet Cobina (5).
Zip! I’m an intellectual.
I don’t like a deep contralto,
Or a man whose voice is alto.
Zip! I’m a heterosexual.
Zip! It took intellect to master my art.
Zip! Who the hell is Margie Hart (6)?
_
Zip! I consider Dali’s (7) painting passé.
Zip! Can they make the Metropolitan (8) pay?
Zip! English people don’t say clerk, they say clark.
Zip! Anybody who says clark is a jark!
I have read the great Cabala (9),
And I simply worship Allah.
Zip! I am just a mystic.
I don’t care for Whistler’s mother (10),
Charley’s Aunt (11), or Shubert’s brother (12).
Zip! I’m misogynistic (13).
Zip! My intelligence is guiding my hand.
Zip! Who the hell is Sally Rand (14)?

Zip! Toscanini (15) leads the greatest of bands.
Zip! Jergens Lotion does the trick for his hands.
Zip! Rip Van Winkle on the screen would be smart.
Zip! Tyrone Power (16) will be cast in the part.
I adore the great Confucius,
And the lines of luscious Lucius (17).
Zip! I am so eclectic.
I don’t care for either Mickey; Mouse or Rooney make me sicky!
Zip! I’m a little hectic.
Zip! My artistic taste is classic and dear.
Zip! Who the hell is Lili St. Cyr (18)?
_
NOTES:
(1) Walter Lippmann (1889-1974), influential American writer, journalist, political commentator and adviser to Presidents.
(2) William Saroyan (1908-1981), Pulitzer-Prize-winning playwright and author. Plays include The Human Comedy and The Time of Your Life. Gene Kelly was appearing in the latter play when he was cast in Pal Joey.
(3) Arthur Schopenhauer (1788 -1860), important German philosopher who believed that man’s desires (physical, sexual and emotional) could never be fulfilled.

Bill Diehl, ABC News Radio, Interviews Matthew Risch

Click HERE to visit the ABC News site and listen to Diehl’s interview.

Stockard Channing “Bewitches” in ‘Pal Joey’

Martha Plimpton’s New York

Martha Plimpton shares some of her favorite things about her home on the upper west side, and New York in general, in this NY Post article. (Yes, there are some things in the Post worth reading!)

MY NEW YORK
By REED TUCKER
December 14, 2008 –

I live on the Upper West Side, and I’m very happy here. I like the trees. I like that the avenues are wide and the sun can get through.

Martha Plimpton says she feels at home on the Upper West Side, and no wonder: She still lives in the apartment where she grew up. The rent’s no doubt affordable, but Plimpton may not need much help paying the bills. The actress has appeared in classic films, including “The Goonies” and “Parenthood,” and lately she’s been spending a good amount of time on the Broadway boards. Her latest is “Pal Joey,” a musical revival about a scheming nightclub crooner, which opened this week. This is her New York.

1.) Oppenheimer Prime Meats & Seafood, formerly 2606 Broadway, at 98th Street

“It had been there for decades. My mother went there, my nana went there and I went there. It was a real neighborhood butcher, the last one of its kind in the area. I stopped by a few weeks ago, and it was closed. [Owner Robert Pence now works out of Hunt's Point Market.] I’m really heartbroken about it. If I can be so bold, I’d rather not have Bloomberg run for a third term, because this is the kind of thing New York has lost entirely.”

2.) Showman’s, 375 W. 125th St., near Morningside Avenue

“I like going up to jazz bars in Harlem, often on Thursday nights. Showman’s is an old-school, railroad car-shaped bar with a bandstand in the back for a trio or a quartet.”

Michael Riedel Can’t Get Enough of Pal Joey

I just can’t resist posting another gossipy article from Michael Riedel’s NY Post column Broadway Matinee (Thursday, December 17). I just have to wonder, how in the world is he privy to someone else’s e-mail unless he has a) hacked into their computer; b) made it all up; or c) been leaked the information by someone desperate for publicity.

UNFRIENDLY WORDS OVER ‘PAL’
POST LEAK LEADS TO E-MAIL BATTLE

ON the eve of the opening of the troubled revival of “Pal Joey,” a war of words has broken out between the head of the Roundabout Theatre Company and the head of the Rodgers & Hammerstein Organization, which controls the rights to the show.

In a series of blistering e-mails, Todd Haimes, who’s shepherded the Roundabout for nearly 20 years, accused Ted Chapin, who oversees the Richard Rodgers estate, of badmouthing the production to - who else? - The Post!

Jimmy Merrill Interviews Steven Skybell, Robert Clohessy and Daniel Marcus

In our fifth and final installment of interviews from the Opening Night Celebration, contributing correspondent Jimmy Merrill talks with the featured actors of Pal Joey — Steven Skybell (Ernest, Joey’s tailor), Robert Clohessy (nightclub manager Mike) and Daniel Marcus (Chez Joey tenor Ludlow Lowell).