"HAMILTON" AS COMPELLING IN LOOK 4 AS IT WAS THE FIRST TIME

Some musicals change the very nature of the genre. "Oklahoma" gave birth to the book musical in which story, dance and lyrics blended together perfectly. "Chorus Line" brought the concept of the dance-centered musical. "Hair" encouraged societal topics and mores to be probed. "Rent" introduced the stage to 21st century ideas and issues. Then, along came "Hamilton" which opened the door to singing, rap and movement blending into fine-tuned story telling.

"Hamilton" was inspired by the 2004 biography, "Alexander Hamilton" by historian Ron Chernow. It has book, music and lyrics by Lin Manuel Miranda, who perfectly honed each element to clearly represent our Revolutionary fathers. 
How did this "exhilarating," and "sublime" musical come to be? The story goes that while on vacation from performing in his hit Broadway show "In the Heights," Lin-Manuel Miranda read a copy of the biography, "Alexander Hamilton" by Ron Chernow. 

Miranda perceived the story as a musical and started to write what was then entitled "The Hamilton Mixtape." 

An Obama White House invitation led to him performing what would later be the show's opening song. 

"Hamilton" is not the first musical based on founding of this country history or its political figures. 

"1776," like "Hamilton" is set in Revolutionary times, specifically, showcasing the Continental Congress during the summer of 1776, and reveals the founding fathers' lively debates. 

"Benjamin Franklin in Paris" gives an account of Franklin arriving in Paris in an attempt to raise money for the colonial revolution against England. 

From a stylistic standpoint, "Hamilton" gives us something new. It's a contemporary rap musical which tells the story in a series of scenes in which the movements are choreographed to not only develop visual ideas, but to help create characterizations, seamlessly tell the tale, and give clear insight into each of the characters who sing them. 

The casting includes a racial mixture of actors as the Founding Fathers and other historical figures, paying no attention to their real gender, race, or age.

Even the conclusion is different. Most modern-day musicals end with a splashy showstopper that brings the audience to its feet for a resounding curtain call. Not "Hamilton." A low-key composition closes the show, emotionally wrapping up the story of a man and his quest. 

The story tells the tale of Alexander Hamilton, who was born out of wedlock in the West Indies. He comes to the American colonies at age 19 and seeks out revolutionary patriot, Aaron Burr, who advises the young and enthusiastic youth to "talk less; smile more." This is advice Hamilton did not take, and helps set the stage for a life-long set of philosophical battles between the men, and eventually contributes to Hamilton's death.

The people of Hamilton's life, the Marquis de Lafayette, the Schuyler sisters, George Washington, Charles Lee, James Madison, and John Jay, flow by in song, rap, movement, and spoken words. 

The tale of the Revolutionary War, the birth of the nation, Hamilton's developing the country's financial system, the death of his son in a duel, and his own demise in a shootout with Aaron Burr, all transpire in compelling fashion, under the adept direction of Thomas Kail and precision choreography and movement by Andy Blankenbuehler.  

During the present touring production of "Hamilton," there were several huge shoutouts during the production. Upon the entrance of Marquis de Lafayette and again when Thomas Jefferson made his first entrance the applause and shouts rang out. Why? 

Warren Egypt Franklin, who played both roles, is a Clevelander who is also a graduate of Baldwin Wallace's esteemed Musical Theatre program. 

Victoria Bussert, Chair of the BW program states, "He graduated in May 2018 and landed "Hamilton" one month later. He actually did "What'd I Miss" for his senior showcase number!!!" (Side note: I was in NY with the BW students for that showcase and we were immediately made aware of the agents and casting director's interest in Warren Egypt, including the casting director of "Hamilton."). Besides "Hamilton," he is appearing on tv's "Grown-ish."

On media night the role or King George was delightfully played by Neil Haskell, but starting December 19, and for the rest of the run, Clevelander, Rory O'Malley, a St. Ignatius grad, who was nominated for a Tony Award for his portrayal of Elder McKinley in Broadway's "The Book of Mormon," will be playing the role.

The cast of "Hamilton" is superb. The quality of the singing, acting and dancing is universally amazing. Don't wait for a local theater to do the show as no one has the talent to reach the high level of performance quality to do the show justice.

Those who want to see the show, but are cash strapped, should be aware that there will be a 40-seat lottery for each performance. To participate in a drawing prospective ticket-buyers must download the official "Hamilton" app on their IOS or Android device. Winners will be notified between 1 and 4 a.m. of the opportunity to purchase up to two tickets for a performance between December 6 and 12. (luckyseat.com). Lotteries for subsequent weeks will operate on the same schedule, opening every Friday and closing Thursday. A person must be 18 or older to enter. Regular tickets are priced at $35 to152 at playhousesquare.org

Capsule judgment: The question asked to many who see "Hamilton" is whether it is worth the investment of time and money? This reviewer's answer, "Absolutely!" I've seen it four times and this staging was as compelling as the first!

'Hamilton" runs through January 15, 2023 at the Key Bank State Theatre.

Dobama produces THE LAND OF OZ, the world premiere of locally written Oz tale

Since 1959, Dobama Theatre has been dedicated to premiering important new plays by established and emerging playwrights in professional productions of the highest quality.  THE LAND OF OZ, is a good selection for them to undertake. 

Dobama’s multi-talented Artistic Director, Nathan Motta, has incorporated his training as a music composer, with his directing experience, to aid George Brant to undertake the development of THE LAND OF OZ, a musical intended to expose local audiences to yet another view of the L. Frank Baum’s world of enchantment.  In this case, the plot is based on the second book in the “Oz” series, THE MARVELOUS LAND OF OZ.

As is the case with all of Baum’s books, its themes are both timeless and relevant to the modern world. 

Motto’s score for THE LAND OF OZ features songs in a variety of American popular music styles.

Brandt, who is a member of the Dramatists Guild, has had his works produced internationally and nationally.  Local stagings have been presented at the Cleveland Play House and Dobama.

The story of THE LAND OF OZ centers around a young orphan boy named Tip who is the ward of an evil witch. When he escapes, with the help of a magical new friend, Tip sets out on an adventure to the Emerald City.  Along the way he encounters the Scarecrow, Tin Man, a woogle bug and a rebel army on their way to take over Oz! (No, there is no Dorothy, Toto, Aunt Em, or even the Wizard.)

The tale examines friendship, loneliness, good overcoming evil, discovering where one comes from and why they are where they are, and the wonder of finding help in a path to the future (whether one is on the yellow brick road, or not).

Dobama should be praised for undertaking the development of a new theatre piece.  Such a task is daunting.  Creating a musical is an awesome job. Not only does the writer have to select a source for the plot (a former play—think PYGMALION as it morphs into MY FAIR LADY), a film (THE LION KING as it is transformed into LION KING, THE MUSICAL), comic strips such as LITTLE ABNER and SUPERMAN being reinvented as musicals, or a writer or writers creating new stories, such as developing DEAR EVEN HANSEN or A CHORUS LINE. 

The score has to be composed to develop the right mood, fit into the story and develop the characters.   This is harder than it appears.  The wrong music can curse a show.  Several of the American musical theatre’s major hits were almost doomed by their opening songs.  

FIDDLER ON THE ROOF found audiences walking out during its out-of-town tryouts.  When Jerome Robbins replaced the original director/choreographer, he sat through the performances, called the writing team together and asked, “What’s the show about?”  After comments such as, “Life in Europe in the early 20^th century,” and “A milkman and his daughters,” someone suggested, the traditions of the people that allow them to exist and endure.  

Robbins is purported to have said, “Then someone write a song to start the show that tells the audience what the show is about and gets the audience ready for that message.” Get rid of the present opening, “The Village Our Grandparents Grew Up In.” That theme won’t get and hold the attention. Thus, the song “Tradition” was written and the script and music were reformatted to fit that theme. 

The opening number of FUNNY THING HAPPENED ON THE WAY TO THE FORUM, originally the pretty, but bland, “Love Is In the Air,” became the frothy, delightful, somewhat sexy, “Comedy Tonight.”  Audiences knew they were going to see a funny show, were given the direction to enjoy themselves, and they did!

If not for the change, FIDDLER would never have been the first Broadway musical to run over 3000 performances and you wouldn’t even had heard of FORUM.

The first act to THE LAND OF OZ drags--lots of audience wiggling and lack of attention.  Maybe the writing team should ask, “What’s this musical about?” and write an opening song that teases us into the tale and sets the emotional mood.

In a traditional musical, the central character, early in the show usually sings an “I want” song in which they tell the audience what they need.   That wish is keystone to develop the plot. Think, “Maybe” in ANNIE—she wants parents or “I Hope I Get It” from CHORUS LINE—each dancer wants a job in the chorus.  

Tip, does have such a song, but is it strong enough to let the audience know that this is going to be the theme of the show? 

Sitting in a dark theatre can be tiresome.  Usually about twenty minutes into each of the acts, in a two-act show, there is a “noisy number,” a show stopper, which wakes up the show and the audience.  What are the noisy numbers in THE LAND OF OZ?  I’m not sure.  Maybe that is why the first act seemed to drag on and on.

The analysis could go on and on, but….  

It is through the production team going through the writing and staging process---write, critique rewrite, read, critique, rewrite, stage, critique, restage, perform before a non-biased audience, gage their interest, perform again, and keep assessing and making appropriate changes.

The same can be said for the staging of any show.

The Dobama production features Jordyn Freetage (TIP), Lana Sugarman (GLINDA/ JELLIA/ LIEUTENANT), Trinidad Snider (MOMBI), Eric Fancher (JACK), Fabio Polanco (SCARECROW), Jason Eno (TIN MAN), Neely Gevaart (JINJUR), Dar’Jon Bentley (LION/ GUARDIAN), Trey Gilpin (WOGGLE BUG), Tim Keo (WINKIE/ DOOR/ THRONE).

They all should be proud of their efforts.  Each night the show should get better as the performers acknowledge new insights into their characters.  With the help of an attentive director and self-awareness on the  part of the actors, they will grow as characters.

The creative team for the production includes Music Direction by Matthew Dolan, Choreography by Gregory Daniels, Scenic and Projection Design by T. Paul Lowry, Lighting Design by David Stoughton, Sound Design by Richard Ingraham, Costume Design by Tesia Benson, Props Design by Vanessa Cook, Puppet Design by Mike Horner, and Technical Direction by Marcus Dana. The band will consist of Rachel Woods (Keyboard), Justin Hart (Drums), Jesse Fishman (Guitar), Tim Keo (Bass), R.J. Rovito (Reed). 

Developing a new musical is hard work.  It is not for the sensitive, the egotistical, those who can’t admit that the show wasn’t perfect with the first effort, the second effort, or even the tenth redo.

Capsule judgment:  Dobama’s THE LAND OF OZ should be seen as a work in progress.  It is quite good, for a new piece.  It will be a better experience for the audience after it is put through more tests.

The show which runs December 2- 31, 2022, runs time of two hours, including one 15-minute intermission.  For tickets:  www.dobama.com or call 216-932-3396.

Want to know more about how musicals are developed and staged?  Read the delightful and eccentric Mark Steun’s BROADWAY BABIES SAY GOODNIGHT:  MUSICALS THEN AND NOW.

 

THE MOST FABULOUS STORY EVER TOLD will offend some, delight others at con-con

 

A stage manager indicates the opening light and sound cues, calls places for the actors, and we are off on a lesson of Biblical history.  That is, comedy writer Paul Rudnick’s version of Biblical history.  
 
There is God or god or G-d, or no God.  
 
He, she, or it created gay Adam and Steve and Jane and Mabel.
 
In this version of the great book, homosexuality was normal before heterosexuality.  
 
Adam and Steve navigate the centuries together, with a few kinky side-trips. They encounter odd characters, including gay animals on Noah's ark, a crippled lesbian rabbi, and a flamboyant pharaoh. There is birth, marriage and attacks on traditional marriage. There is a celebration of Christmas, with or without virgin birth, and Hannukah getting in the way of Xmas festivities.  And, on and on it goes!
 
Hey, this is the writing of Paul Rudnick, who has been described as “line by line, may be the funniest writer for the stage in the United States today..."   
 
There have been protests when the show has been scheduled in various venues. 
 
At a production at the University of California-Santa Cruz, Jerry Falwell and members of the Westboro Baptist Church, condemmed the production, making such comments as “This fiasco at UC Santa Cruz is just one more symptom of the deadly disease encompassing this land.” And, “they have institutionalized sin and we're going to face the consequences.’”  An Oklahoma state representative claimed it was a "direct frontal attack" to Christians. In Dallas, America Needs Fatima protested another production. America Needs Fatima also protested a production in Atlanta.
 
Worry not, there was no protest at con-con, only laughter and extended applause at the conclusion of the show.
 
Just to be clear.  The script is no great work of literature.  The authors of ANGELS IN AMERICA, BENT, BOYS IN THE BAND, THE NORMAL HEART, TOURCH SONG TRILOGY, JEFFREY, LOVE! VALOUR! COMPASSION!, and GROSS INDECENCY:  THE THREE TRIALS OF OSCAR WILDE, need fear not about being replaced on the list of best gay-centric plays by THE MOST FABULOUS STORY EVER TOLD.
 
With a good production, the overly long and somewhat trite script can be entertaining.  And, at con-con what they get is exactly that. 
 
For those open to the biblical onslaught and possessing the right attitude, an audience member can cackle, roll-their eyes and think of all the Evangelicals who would be upset and uncomfortable being exposed to this “smut.”  
 
Director Denise Astorino keeps the action moving right along.  She has inserted some creativity into the staging.  Along with costumer Kate Smith, she has handled the nudity issue, maybe to the disappointment of some con-con regulars, with green jockstraps and vines, and Neil Sudhakaran’s projections adds in interesting set changes and visual Biblical references.
 
Alex Strzemilowski (Adam) and Noah Pigza (Steve) are geeky charming as Adam and Steve.  Lucy Turner is Dyke-correct as Mabel and Grace Mitri (Jane) makes for a perfect lipstick Lesbian.  David L. Munnell, proves again that he is the king of “fey.”  The rest of the cast, Haley Johnson, Rick Quintana, Amanda Rowe Van Allen, and Katelyn Cornelius are fine in playing multiple roles. 
 
Capsule judgment:  THE MOST FABULOUS STORY EVER TOLD will delight con-con regulars and intentionally upset the religious up-tight.  But, as Rudnick stated about detractors, "tell them I spoke to God personally and he said they're wrong."
 
THE MOST FABULOUS STORY EVER TOLD runs at con-con through December 17, 2022.