9/22/18 (Mon), Tokyo
A full-scale production of Follies is always an event given the huge cast, glamorous setting and the show’s complexity, and the National Theatre production had been widely praised. It also featured one of my favorite British stage actresses, Imelda Staunton, so I wasn’t going to miss it. But the pleasures of the production need to be separated from the dreariness of what’s on stage. A bit of background.
7/20/18 (Fri), New York Off Broadway
Oscar Hammerstein II completed this English-language version of Carmen, reset in a black community in wartime America, just before turning to the starkly different world of Carousel, which I saw on Broadway a few days earlier. Carmen feels almost like a musical in the first place (Carousel, for that matter, sometimes feels like opera), so it makes much more sense as a Broadway show than, say, the La Boheme staging some years back. Still, the vocal requirements for this show must be a killer for an eight-performance week, and other issues, not least some less-than-PC black dialect, make productions pretty rare – the last time I saw it was in London several decades ago. So I wasn’t going to miss this.
7/19/18 (Thurs), National Yiddish Theatre
A Fiddler in Yiddish – sounds crazy, no? This was a Yiddish version that played in Israel in 1965, just a year after the show debuted on Broadway, and has evidently not been seen since. I was going to take advantage of a rare Thursday matinee – the show doesn’t play on Fri nights or Sat matinees, for reasons obvious if you’re Jewish – but a friend happened to be going that night and had an extra ticket.
As it turns out, this was not just another Fiddler. The use of Yiddish, which would have been the language of the characters in real life, provided an unexpectedly fresh perspective on the familiar show. Continue reading
I hadn’t initially intended to see this production of Carousel. The show is notoriously tricky to get right, and the last Broadway production, an import from London, set an extremely high standard. The typical British approach of darkening the material, which sank Oklahoma!, Oliver and Mary Poppins among others, worked spectacularly for this already dark show in what is still one of the best revivals I’ve ever seen. Beyond that inevitable comparison, this new production was further burdened by feminist complaints in these more enlightened times, not entirely unjustified, over the lead’s penchant for smacking his wife, making me suspect that the director would hold back from some of the show’s unpleasantries. But the word was generally good, including a rave by a good friend. So, when I ended up here after all, just five minutes before curtain (other shows were sold out), I went in with reasonably high expectations.
7/6/18 (Fri), Tokyo
I hadn’t seen the stage version of Evita since Harold Prince’s original London production in 1978, which I caught 2-3 weeks after it opened. That and A Chorus Line, which was also in its initial run, were the first shows I ever saw on a West End or Broadway stage. With ACL also due in Japan next month, this is a real nostalgia trip for me. Thinking back, I realize that both productions represented a triumph of direction over material, with astonishing staging concepts that not only disguised the weaknesses in the shows but practically made them irrelevant. My experience to that point had been local or touring productions of Fiddler on the Roof and Man of La Mancha and such, so these concept-driven productions were pretty mind-blowing. Evita has been revived in various incarnations since, but this international tour is a recreation of the original overseen by Prince himself. I wasn’t going to miss it.
7/13/18 (Fri)
Something’s coming indeed. Hot on the heels of the unlikely news that Hollywood giant Steven Spielberg is taking on his first musical with a film remake of West Side Story, it’s been announced that the eclectic stage director Ivo van Hove is taking on his first Broadway musical with a stage production of that very same West Side Story. Odd that these are coming essentially at the same time, especially as the approaches of the populist filmmaker and decidedly non-populist stage director are likely to be vastly different.
Most notably, a press release on July 12 by veteran producer Scott Rudin says that the new stage version will not feature the classic finger-snapping dances by Jerome Robbins, who (in Robbins’ own modest words) “conceived, directed and choreographed” the original production, but use new work by contemporary dance choreographer Anne Teresa De Keersmaeker. Scenery and lighting design will be handled by van Hove’s regular collaborator and life partner Jan Versweyveld, making for an all-Belgian creative team. Based on the director’s previous shows, we can expect a bare stage and lots of bare feet.
Eliza Doolittle is now officially woke, going by the reviews of Bartlett Sher’s just opened revival of My Fair Lady. The newly conceived ending, as gleaned from spoilers (not to be revealed here), has the former flower girl breaking decisively from her mentor Higgins and going off on her own. No suggestion of romantic love or tolerance for human quirks as in the original musical. That would undoubtedly have pleased the resolutely feminist George Bernard Shaw, who insisted to the end that Eliza would never have returned to Higgins after she has become an independent woman. (In the final scene of Pygmalion, the basis for the musical, Higgins commands Eliza to go buy him a pair of gloves, at which she snaps, “Buy them yourself”, and leaves angrily.) That said, Shaw’s own actors in the original stage show and the producers of the film version, to his fury, all altered the ending without his permission to hint at a budding love affair. So any change back to Shaw’s original concept would be swimming against a long established tide.
But maybe not these days. Continue reading
More than a dozen years after its debut in London, the stage production of Mary Poppins is finally making its way to Tokyo in an all-Japanese version this month. The show ran only around three years in London, a considerable disappointment given the potency of the title and the pedigree of mega-producers Disney and Cameron Mackintosh. It posted a stronger and profitable run of over six years on Broadway, but never became the iconic hit that many had envisioned.
My review of the London production from September 2005, when the show was still in its first year, says it all, so I’ll repeat that here.
The New York Times has decided that old musicals are a danger to society. A recent article, “The Problem With Broadway Revivals: They Revive Gender Stereotypes, Too”, complains that revivals of Carousel, My Fair Lady and Kiss Me, Kate present women as inferior beings who endure abuse from their male counterparts: “Billy Bigelow hits Julie Jordan. Henry Higgins molds Eliza Doolittle. Fred tames Lilli.” It claims unsurprisingly that these revivals are a “huge conversation” among the #MeToo movement. (It also discusses Pretty Woman, a new musical based on the film that is scheduled to open this year.) The article quotes worried musician Georgia Stitt as saying, “In 2017 is the correct message really ‘women are there to be rescued’?”
Well, no. That’s not the message at all, and the problem isn’t the musicals but the shriveled viewpoint of those perpetual victims who turn everything they touch into proof of their own suffering. Stacy Wolf, an academic (naturally) who has written a feminist history of Broadway, calls the characters in such musicals “pathetic”, and Stitt asks rhetorically, “Are these the shows I’m going to take my 12-year-old daughter to?”
Depends on how you look it, doesn’t it? Continue reading
4/10/13 (Wed), Tokyo
At first glance, South Pacific seemed the least likely of the big Rodgers and Hammerstein musicals to be given the Takarazuka treatment given the high macho factor: “There’s Nothing Like a Dame” has a whole chorus of men grumbling about the lack of women, “Younger Than Springtime” calls in the script for a shirtless guy (implying some off-stage fun), and “Honey Bun” features a man in drag with coconuts for boobs. Also, the theme of racial discrimination wouldn’t resonate whatsoever with this group’s core audience. More than that, the text states explicitly that the soldiers are there to fight the Japanese, which no one in this country wants to hear about. (In the last version I saw in Tokyo, an import from London, the subtitles used katakana, the alphabet used for foreign words, for all references to the Japanese military (ニホン軍) as if Japan were a foreign country.) But, of course, it’s a big romantic story with two juicy male leading roles, an ideal combination for these guys (girls), and the super-maleness was certainly a prime attraction for me. There was no way I was going to miss this opportunity to catch some high camp.
Steven Spielberg’s intended film remake of West Side Story is apparently a go, for better or worse. While the original 1957 stage show was a modest success, it was the smash 1961 film that put the musical on the map with the second-highest grosses of the year and ten Academy Awards, including Best Picture. The love was not shared by its creators, who did not approve of the numerous revisions in song order and such, and it has not aged particularly well, coming off today as rather stagy despite its on-location shooting. Still, it is an historic work with a perfect cast, that amazing score and the iconic Jerome Robbins choreography, making the challenge of a remake formidable. The innovative approaches of recent musical films like Sweeney Todd and Hedwig and the Angry Inch (as well as the NBC Live musicals) do suggest a new path for musical film, and a creative look at old material is always welcome. (The stage show itself could stand some polishing if the Robbins estate would ever allow it.)
So why am I skeptical? Let us count the ways. Continue reading
sekenbanashi 