West Side Story (2021)

  • West Side Story (2021)

2/12/22 (Sat)

I was equally excited by and wary of the idea of a new film version of West Side Story (see here). The 1961 film, as with the original stage show four years earlier, was portraying contemporary events by people who were there. Any remake would necessarily involve a reinterpretation of the story filtered through a modern sensibility, and it was hardly a comfort that it was being led by the ever-woke team of director Steven Spielberg and screenwriter Tony Kushner. The original show, which portrays a turf war between Polish-American and Puerto Rican social outcasts, has been criticized by some as an outmoded, semi-racist piece by four Jewish white guys (choreographer, writer, composer, lyricist), though you could also say four gay guys if that helps. The last Broadway revival in 2020, which I did not see, was reportedly an extreme makeover with a distinctly modern perspective, including references to Black Lives Matters, extensive use of video screens, and modern dance in place of Jerome Robbins’ iconic ballet-inspired choreography. That closed quickly due to the pandemic but did not subsequently reopen, suggesting that the producers didn’t have much confidence in its commercial prospects. It was hard to say what to expect with Spielberg, though the previews encouragingly looked like a more traditional approach.

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A Look Back: Funny Girl

A Look Back: Funny Girl

The production of Funny Girl due on Broadway next year, the first in nearly 60 years, appears basically a revival of the successful London production of 2015 with the same director, Michael Meyer, and same revised book by Harvey Fierstein. It played first at the small Menier Chocolate Factory, where it was a complete sellout, and then moved to the West End for another half-year. Here are some thoughts from the former.

This is the first big-time revival of the show since its initial run in the mid 1960s, meaning anyone who saw it as a teenager then would now be retirement age. The first question on anyone’s mind is: who’s going to play Barbra? Continue reading

History of the Broadway Musical: Fiddler on the Roof (屋根の上のバイオリン引き) (1964)

(英語の後に日本語が続きます)

(A sample chapter that I wrote for a planned book on the Broadway musical intended for Japanese publication. I hadn’t planned to release this in English, but here it is in slightly revised form.)

History of the Broadway Musical: Fiddler on the Roof (1964)

It is a strange but true fact that the overwhelming number of the great Broadway musical writers have been Jewish or part-Jewish – Gershwin, Rodgers & Hart, Berlin, Kern, Loesser, Lerner & Loewe, Rodgers & Hammerstein, Kander & Ebb, Bernstein, Sondheim, Schwartz, Boublil & Schönberg, and many more. Jewish creators have been responsible for most of the epic works still produced today: in addition to every work in this book, the list encompasses all of the first seven Pulitzer-winning musicals, and extends from the Golden Age classics like The King & I and The Sound of Music to newer hits like A Chorus Line, Chicago, Rent, Les Miserables and Wicked. And that includes not just the songwriters; in fact, a large proportion of the key musical book writers and producers were Jewish as well. This is not true just of musicals, of course – Jews are also overrepresented among major playwrights (e.g. Miller, Ionesco, Stoppard, Pinter) – but their influence on the development of the musical has been decisive. Furthermore, they make up a good part of the theatrical audience. When I produced a Japanese drama off Broadway some years ago, I was told that one iron rule is never to open a show on a Jewish holiday since only Jewish viewers could be relied on to show up, even for an obscure Japanese play. Why this is true is a subject for another book, but the Jewish presence in New York theater is undeniably immense.

Nevertheless, another strange fact is that few of the big musicals have Jewish subject matter. The style and sense of humor in Broadway musicals have always heavily reflected Jewish archetypes, but not the contents; characterizations are Jewish but not the characters. Jewish writers have shown a preference for big, broad, romantic shows aimed for universal appeal; they wrote not for themselves but for the world. The general thinking was that musicals with Jewish themes would have limited appeal. The Jewish population was small relative to the mass public, so even with their strong theatergoing habits, they could only spark a show to success, not ensure it. Thus, despite what would seem a built-in audience, few large-scale musicals until the 1960s had an explicitly Jewish theme, and none had long-running appeal. Until FiddlerContinue reading

History of the Broadway Musical: My Fair Lady (1956)

(A sample chapter that I wrote for a planned book on the Broadway musical intended for Japanese publication. I hadn’t planned to release this in English, but here it is in slightly revised form.)

History of the Broadway Musical: My Fair Lady (1956)

Love is the universal theme of the traditional Broadway musical (and opera, for that matter). Regardless of the setting or characters or tone, the stories would invariably revolve around a pair of lovers and their travails, usually ending with the sweethearts blissfully reunited (musical) or dead (opera). Then came My Fair Lady.

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History of the Broadway Musical: Oklahoma! (1943)

(A sample chapter that I wrote for a planned book on the Broadway musical intended for Japanese publication. I hadn’t planned to release this in English, but here it is in slightly revised form.)

History of the Broadway Musical: Oklahoma! (1943)

In 1943, as America was fighting on both sides of the water in WWII, Broadway saw the debut of perhaps the most influential show in American musical theater history. Oklahoma! not only become one of the most successful musicals ever written but single-handedly transformed the landscape of Broadway.

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History of the Broadway Musical: Intro

(An excerpt from a sample chapter that I wrote several years back for a proposed book on the history of the Broadway musical for Japanese publication. I hadn’t planned to release this in English, but here it is in slightly revised form.)

History of the Broadway Musical: Intro

Birth of the musical

Nothing springs from nothing, and there was plenty of musical entertainment in the pre-modern age. The first musical more or less in the modern sense, however, is said to be The Black Crook of 1866. As the story has it, the manager of New York’s 3,200-seat Niblo’s Garden had booked a melodrama about an evil count who, coveting a beautiful woman, sends her lover to a black magic master looking for new souls to feed the devil. On the way, the lover frees a dove, which turns out to be a Fairy Queen who rescues him and saves the day. Burdened with that story, the manager was looking for musical material when a fire destroyed another major theater nearby, leaving a Parisian ballet troupe and some huge sets without a home. The two sides threw their shows together and unwittingly gave rise to a new art form.

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The Prom (film)

  • The Prom (film)

3/17/21 (Wed)

The idea of The Prom was promising: a group of down-and-out actors looking for publicity decide to stage a protest in Hicksville (played here by Indiana), where a lesbian has effectively been kept from taking her lover to the school prom. I thought it was going to be a spoof on overzealous leftists and their any-cause-will-do attitude, and it starts off lively enough. But it quickly devolves into the usual flaccid material, a plodding story about identity and let’s-love-each-other and be-true-to-yourself platitudes. Yuck. Continue reading

Calamity Jane (1963 TV version)

  • Calamity Jane (1963 TV version)

11/9/20 (Mon), YouTube

Thirty-year-old Carol Burnett had just performed in the stage adaptation of the Doris Day film musical in Kansas City when CBS scooped her up for a television version. This marked her television special debut, but with a Tony nomination (Once Upon a Mattress) and Emmy Award already under her belt at this point, she was completely at home. Plus she appeared here with most of the co-stars from the stage production, giving it a real theatrical feel.

The show itself is no great shakes, an obvious (and inferior) rip-off of Annie Get Your Gun with songs that, while fun, are pale imitations of infinitely better numbers like “Anything You Can Do” and Oklahoma‘s “(Everything’s Up to Date in) Kansas City”. The story would never pass muster today with the woman ultimately seeking a man; the stage version never seems to have made it to Broadway and is unlikely to do so without significant rewriting, though it’s popular in the UK. But it doesn’t aspire to profundity, just entertainment, and it easily passes that test with its Wild West setting, unflagging high spirits, and boisterous star cowgirl role.

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A look back: Rent (2012 Japanese version)

(日本語版はページ下部にあります)

I came across an article I wrote for GQ Japan on a Japanese production of the musical Rent in the 26 October 2012 edition. The article was in Japanese and significantly cut (I wrote way too much as usual), so I’m including both the English and unedited Japanese versions here. Rent is hugely popular in Japan, and there have been other productions since. This is the view as of 2012. 

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A look back: Hamilton

With the mega-hit musical Hamilton due on television in a few days, I thought it a good time to rerun my review of three years ago. This is not part of the series of made-for-TV reproductions of classic shows – one of the best of which, Grease, was helmed by Hamilton’s own director Thomas Kail – but the actual stage version of the musical filmed with multiple cameras in live performance way back when with the original cast. We’ll see if Disney got its $75 million worth (that figure is not a typo), especially given what would seem to be limited international interest in the subject – I’d hate to be the person writing the Japanese subtitles. But the stage show has reportedly passed $1 billion in global revenues, including $650 million from New York alone, and spawned by far the best-selling Broadway cast album in history. With a usurious official ticket price on Broadway of up to $1,150 (also not a typo – don’t even ask about scalper prices), the audiences for the show have inevitably been less diverse than the famously racially mixed cast. As such, the television production will truly bring this to a new viewership. Hopefully it will lure a wider fan base to live theater once the nation’s stages reopen.

I’m still wary of the show’s version of history. Wait until the mobs find out that Hamilton, presented here as an ambitious Latin immigrant, was actually a 100% white guy (three-quarters British, one-quarter French) who espoused virulent anti-immigrant views and, in going to New York from the Caribbean, was simply moving from one British colony to another. Here’s my review.

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Jesus Christ Superstar Live

  • Jesus Christ Superstar Live

4/12/20 (Sun)

Andrew Lloyd Webber has opened up his catalog for free streaming over weekends during this irritating coronavirus plague. I missed the previous week’s opening, Joseph…, not realizing that the download expired after the weekend. So I made sure to tune in for the next biblical pop opera, Jesus, by Sunday, which was after all Easter. I’d never seen this in any version and would normally have preferred to wait and see it in a theater. But this was a live unedited film of a 2012 production, so it’s the next best thing. Plus the price was right.

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A Look Back: Mary Poppins (West End)

I see where the stage version of Mary Poppins has returned to the West End to largely favorable reviews. It’s hard to know how it will fare given its unexpectedly short run last time around; three years would qualify as a hit for most shows, but hopes had been riding particularly high for Poppins given the potent title, family-friendly content and combined power of mega-producers Disney and Cameron Mackintosh, who must have thought they had another The Lion King or Phantom (respectively) on their hands. Still, it did well enough, and it’s no surprise to see them coming back for another try.

I was less taken by the show, at least in its original production, due to its ham-handed approach to the material. In trying to bring together the original British novels and Disney’s lighter film version, the show loses its way entirely. Continue reading