Archive for December, 2008

Jimmy Merrill Interviews Jerry Stiller, Cynthia Nixon & Martha Plimpton

Contributing correspondent Jimmy Merrill was at the Opening Night Celebration for Roundabout’s Pal Joey. Here are the first of many interviews.

In this segment, Jimmy talks with Jerry Stiller (Seinfeld, Zoolander), Cynthia Nixon (Sex and the City), and Pal Joey star Martha Plimpton (Gladys Bumps). More interviews to come–stay tuned.

Van Johnson, A True Broadway “Pal”

Van Johnson, who began his career as a chorus boy and understudy on Broadway, died Friday in an assisted-care facility in New York.  His boyish looks and earnest manner made him a Hollywood heartthrob in the 1940s and 1950’s.

Johnson was born August 25, 1916, to a plumber and housewife in Newport, Rhode Island. He was 16 years old when he left Rhode Island for New York City so he could forge a career in acting.

Johnson made his Broadway debut in 1936 in “New Faces of 1936″ before legendary director-playwright George Abbott hired him as a chorus member and understudy to the three male leads in Rodgers and Hart’s “Too Many Girls” in 1939.

The next year, Abbott cast him as a chorus boy and Gene Kelly’s understudy in Rodgers and Hart’s groundbreaking musical “Pal Joey,” according to TCM.com. His film debut followed in 1940 with a role in the chorus of “Too Many Girls.”

Johnson’s career stretched over six decades and across genres, from comedies and war films, such as “The Caine Mutiny” and “30 Seconds Over Tokyo,” to Broadway musicals and television shows, including a guest spot as the Minstrel on the campy 1960s series, “Batman,” according to Turner Classic Movies’ Web site.

The red-haired, freckle-faced actor’s youthful charm earned him a huge teen following in his heyday. He became known as the “voiceless Sinatra,” despite a singing voice that landed him roles alongside June Allyson and Judy Garland in “Two Girls and a Sailor” and “In the Good Old Summertime.” 

A private service will be held.

Pal Joey Opening Night Celebration

Although the official Opening Night for Pal Joey isn’t until next week, the “Opening Celebration” was held last night. Pal Joey Blog contributing correspondent Jimmy Merrill covered the event, and we will have video up soon. In the meantime, here are some pictures from last night (December 11th).

Great Pal Joey Show Pictures!!

Thank you “mrmidwest” for posting these great photos on livejournal.com.

Excerpt From Riedel’s Latest NY Post Article

Michael Riedel’s latest NY Post article, “WHEN ‘EX’ MARKS THE PLOT”, which maligns playwright David Mamet citing various “sources” sound familiar?), ends with, almost as an aside, a follow up of his ‘Great Boy But No Pal‘ article. While not exactly a retraction, Riedel must admit that not all his information was accurate: (red type indicates Catherine’s personal comment)

EXECUTIVES at the Rodgers & Hammerstein office called to say that, contrary to the rumors swirling around “Pal Joey,” they weren’t the ones who knifed poor Christian Hoff.

The Tony-winning actor left the Roundabout revival a few weeks ago. He suffered a minor foot injury, but when he asked to return to the show, he was told that he’d been replaced by his understudy, Matthew Risch.

“The Roundabout asked us if we were OK with the change,” says an R&H source. “We certainly did not push for it. We did not have a problem with Christian.”

Whoever did him in, it looks as if Hoff has dodged a bullet. Word of mouth on “Pal Joey” is pretty poisonous. (We’ll let the critics be the judge of that next week.)

Risch gets high marks for energetically jumping into the fray, but “the chorus boy is still a chorus boy,” says a source.

The one bright spot: Martha Plimpton, who, although not exactly known for her singing abilities, is stealing the show with her rendition of “Zip.” Look for her to walk off with the reviews next week as well.

Well, Michael, I can only hope you learned a valuable lesson - check your sources! And Pal Joey and Christian Hoff fans, remember - don’t believe everything you read!

Martha Plimpton Linked to Showtime Pilot

Dark comedy cast includes Martha Plimpton, Kiele Sanchez
By Nellie Andreeva, Hollywood Reporter

Martha Plimpton, Kiele Sanchez, Eddie Shin, Nate Torrence and Dreama Walker have joined Matthew Perry on his dark comedy Showtime pilot “The End of Steve.”

The Sony TV project, penned and executive produced by Peter Tolan and Perry, stars Perry as Steve, an egomaniacal local talk show host who is on a reluctant path to redemption.

Plimpton (Pal Joey Revival)will play he show’s producer. Sanchez will play his pretty co-host, by whom he is completely entranced.

Shin (”That ’80s Show”) will play Bob Hu, Steve’s boss. Torrence, who co-starred with Perry on NBC’s “Studio 60 on the Sunset Strip,” will play Nathan, Steve’s assistant. Walker (”Gossip Girl”) will play the hot teen daughter of the manager of the apartment complex where Steve lives.

At Home With William Ivey Long

I came across the most wonderful interview with Pal Joey Costume Designer William Ivey Long on NewYorkSocialDiary.com. Along with the interesting conversation, the piece includes beautiful pictures of Long’s gorgeous home. Following are excerpts from the article. To read the article in it’s entirety - and you must to see the fabulous pictures - click here and ENJOY!

• by Sian Ballen and Lesley Hauge
• photographs by Jeffrey Hirsch

Five-time Tony award-winner William Ivey Long is such a successful costume designer that to list the productions in which he has been involved would read like some kind of history of Broadway over the past 30 years. Suffice to say that if you’ve seen any of the following: Hairspray, Dreamgirls, The Producers, Grey Gardens, Chicago … then you’ve seen his work. He has also designed costume for Mick Jagger’s tours and Siegfried and Roy…

…What’s the process of knowing how a costume is going to move?

Oh, well, actually I ask them to show me what they’re going to do in that scene. Like I was with Stockard Channing yesterday for three hours and we just did a few of the nine costumes I’m making for ‘Pal Joey’. I asked her to go through each of the songs, show me what she’s doing. We mocked up a bed—she sings ‘Bewitched, Bothered and Bewildered’—no pressure there—she’s wearing a little teddy and I’m taking one of the fur-trimmed wraps from the previous scene … we’re making it so that it curves around… it also helps protect your …

Yeah, you don’t want a boob popping out.

Oh yes, and your arms, all over …

This is a distraction of mine but whenever I go to the theater, I notice that actors sweat a lot – I always wonder what happens to their costumes.

I have to know about fabrics, I have to know about maintenance. I pick natural fibers and we try not to have them dry-cleaned because it loosens the color and stretches the fabrics. We air them, we turn them inside out, we spray vodka on them.

You spray vodka on them?!

Vodka. Inexpensive vodka. Something in the culture kills bacteria. You mix it with a little water, so it’s not straight vodka, you turn everything inside out and you put a fan on it. I also make doubles. If it’s a dance show I always make doubles.

Click here to open NewYorkSocialDiary in a new window.

A Message From Christian Hoff

“Thank you all for your continued support and encouragement. In faith, I rest content and wish my friends at Pal Joey all the best.”
Christian Hoff

Delightful NY Times Interview With Stockard Channing

I hope you enjoy reading this interview as much as I did. It shows a softer, more personal side to Stockard.

Bewitched, Bothered and Back
By ERIK PIEPENBURG
Published: December 3, 2008

HOW you know the name Stockard Channing may depend on how you’re entertained. She was the naughty bun-in-the-oven Rizzo, with Olivia Newton-John and John Travolta, in the 1978 movie adaptation of “Grease.” Theater fans remember her as Ouisa Kittredge in John Guare’s play “Six Degrees of Separation” in 1990 (she reprised the role in the 1993 film adaptation, which also starred Will Smith and Donald Sutherland). And for several seasons she was Abbey Bartlet, the wife of the president on the NBC series “The West Wing.”

“It’s interesting to be known as an errant teenager or the first lady of the United States, depending who you’re talking to,” Ms. Channing said.

Last seen on Broadway in the 1999 revival of “The Lion in Winter” opposite Laurence Fishburne, Ms. Channing, 64, is returning as Vera Simpson in the Roundabout Theater Company’s production of the Rodgers and Hart musical “Pal Joey” at Studio 54. The show, with a new book by the playwright Richard Greenberg, is directed by Joe Mantello, with musical direction by Paul Gemignani.

The title of Vera’s big number, “Bewitched, Bothered and Bewildered,” is an apt description of the backstage dramatics that unfolded shortly after previews started. Christian Hoff, 40, who was to play Joey Evans, withdrew from the show after a foot injury and was replaced permanently by his understudy, Matthew Risch, 27. The show’s opening was pushed back a week, to Dec. 18.

Before a recent preview performance Erik Piepenburg sat down with Ms. Channing to discuss the challenges of a sudden cast change, her light-bulb moment with Brecht and Weill, and letting go of “Grease.” Excerpts from the interview follow.

Losing a Co-Star
It’s been hard on the company, any time you lose a member of the company so suddenly who’s been such an organic part of the creative process. … You can see how demanding the show is physically. I obviously wasn’t present for these conversations, but everybody had to make a quick decision. I think from his part, to bow out — he could injure himself permanently if he came back too soon. The temptation in any kind of athletic situation, I think, is “I don’t want to let the team down,” which is very much Christian’s way. … It was terribly dramatic because we had to cancel the Saturday matinee. …We’re blessed, and we also have a great loss at the same time, which is really stressful. I’m sure it was a very painful decision for him to make.

Old Joey, New Joey
I think we’re telling a slightly different story. There’s a much larger gap in age, which concerns me sometimes, that Vera Simpson is not going to be arrested for robbing the cradle. On the other hand there’s a great tradition that goes back to Colette, of an older woman and a younger man. It’s been going on for a long time.

Riedel’s NY Post Article Open For Discussion

In case some of you aren’t aware, the NY Post ran an article by Michael Riedel in it’s Broadway Matinee section that has Christian Hoff and Pal Joey fans abuzz. I have been reluctant to bring this up on the blog, but I think it only fair for us to post ALL Pal Joey news, and that includes positive and negative material. I also feel that you, the readers, should have a chance to voice your opinions on the subject matter of this article.
Here is the article, in it’s entirety, followed by comments that appear on the NY Post website

——————————————————————-

GREAT ‘BOY’ BUT NO ‘PAL’

HURT FOOT LETS HOFF WALK OUT ON ROLE
By Michael Riedel
Broadway Matinee

CHRISTIAN Hoff was a terrific supporting player in “Jersey Boys” - so good, in fact, that he won a Tony for his performance as the thuggish Tommy De Vito.
But as leading-man material, Hoff didn’t cut it. At least in “Pal Joey.”
The actor withdrew two weeks ago from the revival of Richard Rodgers and Lorenz Hart’s 1940 musical, now in previews at the Roundabout’s Studio 54 theater.
Officially, Hoff injured his foot - which is true.
But there’s more to the story than the press release.
Hoff’s injury was minor, and he wanted to return to the show. But several people involved in the production didn’t want him back.
The actor, sources say, wasn’t up to all the demands of the role, especially the dancing.
“Even when he wasn’t injured, he danced like he was,” a source (a bitchy one) says.
During rehearsals and previews, representatives from the Rodgers and Hammerstein Organization, which controls all of Richard Rodgers’ musicals, became increasingly concerned about Hoff’s lackluster performance.
“It’s a very difficult part - you’ve got to sing and dance and be charming and a jerk, all at the same time,” says a production source. “Those elements were not coming together.”
A “Pal Joey” with an inadequate Joey would be disastrous. So Hoff’s injured foot was “good cover” to get rid of him, a source says.
He’s been replaced by his understudy, Matthew Risch, a chorus kid who’s appeared in “Legally Blonde” and “Chicago.”
But he’s got one thing Hoff never had: the approval of Mary Rodgers, the composer’s daughter.
She saw a performance the other day and gave the kid her blessing, sources say.
Hoff’s agents, meanwhile, are demanding that the Roundabout pay out his full contract.
In fact, the theater’s obligated to give him only three weeks’ severance. But a source says: “He will be compensated way beyond that.”

Click “read entire post” to view comments from the NY Post website.

Matthew Risch, The Luckiest Ex-Understudy In New York City

Max Abelson of The New York Observer visited with Matthew Risch in his new dressing room at Roundabout Theatre’s Studio 54. The first sentence of his subsequent article, which appeared on December 2, began like this..”Never having a real speaking role before…” Wow! Talk about pressure! Risch admits that he almost threw up when he heard that he would be taking over permanently for Chrisitan Hoff, who had injured his foot two days prior. But apparently not from nerves or joy, but because “I felt so completely horrible for him, because he had been nothing but the most generous person I’ve ever had the chance to work with…”

Risch has been receiving much appreciated support from his co-stars Stockard Channing and Martha Plimpton. “They’re like….We’re here for you. Whatever you need, just let us know.” And some welcome advice on playing Joey from legendary actress Elaine Stritch (who was in the 1952 revival). She told him “He’s (Joey) just spewing out all this vomit of charm…Vomiting up charm left and right to everybody, it’s nothing to him. That’s all he knows how to do.”

The full article covers many subjects, from what Risch keeps in his dressing room, to his childhood and through his career to present day - going from hoping to go on at least once as Hoff’s understudy, to becoming leading man in a Broadway musical. A dream come true for a man who had “never had a speaking role before”.

Click here to open the Observer site and read the complete article.

Q&A With “Pal Joey” Pals

Conversation: The Pals of ‘Pal Joey’
By Jesse Oxfeld, Published Nov 30, 2008, nymag.com

The emphasis is on the female leads in this revival of the Rodgers and Hart classic. Never mind that neither has sung onstage in 25 years.

In the past few seasons, Martha Plimpton has played a female pope, a Shakespearean princess, and some Russian revolutionaries; Stockard Channing played First Lady Abbey Bartlet on The West Wing and, oddly, narrates Meerkat Manor. Now they’re both belting Rodgers and Hart classics like “Bewitched, Bothered, and Bewildered” in the Roundabout revival of Pal Joey, which, with a new book by Richard Greenberg, makes its debut on December 18. (Opening night has been delayed a week, after the planned Joey, onetime Jersey Boy Christian Hoff, hurt his foot and left the production.) The two women spoke to Jesse Oxfeld.

This production is so much darker than the classic Frank Sinatra–Rita Hayworth–Kim Novak movie, which has a happy ending.
Channing: The movie was very sanitized. The play, the original play, was funky. The play was about, you know, a married woman and a young guy. In the movie, Rita Hayworth was a widow. And, a little bit conveniently, an ex-stripper.
Plimpton: So she could do [the striptease song] “Zip.”

Which Martha’s character, Gladys—who’s barely a presence in the movie—now sings. Had you read the original John O’Hara stories the play is based on?
Channing: I’d read other stuff by John O’Hara, so I knew the tone. And then Joe Mantello, our director, gave me a copy of the original play, and it’s very close in tone to this—but it’s very choppy in the second act.

So Greenberg’s work was fixing the story.
Channing: Yes. But the language is very fair—the rhythms and the bleakness of it are very, very close to the original O’Hara. Neither of you is known as a musical star …
Plimpton: It’s my first singing role as an adult. When I was a child, I did downtown musicals with the Public, and then I didn’t do another musical for 25 years, until now. This is my first [Puts on affected British accent] big Broadway show!
Channing: [To Plimpton] You told me you were doing a cabaret thing.
Plimpton: I don’t call it cabaret.
Channing: I’m outing her act!
Plimpton: I have done, you know, evenings of song. I have some friends…I did a show with Lucy Wainwright Roche and Dan Lipton at the Zipper in August. But I haven’t ever done it, you know, for money.