Even if you’re not a theater nerd, Warren Hoffman’s “The Great White Way” (Rutgers University Press) makes a fascinating read. The book’s subtitle, “Race and the Broadway Musical,” only hints at its breadth, and the depth of Hoffman’s laser-sharp analysis of an all-American art form. Billed as “the first book to reveal the racial politics, content, and subtexts that have haunted musicals for almost one hundred years,” “The Great White Way” also delves into Jewish contributions to the musical stage, including a kind of myopia around race and ethnicity as Jews fought to fit in themselves. Hoffman, a playwright himself, works by day as associate director of community programming at the Jewish Federation of Greater Philadelphia. He spoke to the Forward from his Philly office.
MIchael Kaminer: It’s hard to believe that no one’s explored a topic this ripe. Why is that?
Warren Hoffman: Until recently, musical theater hasn’t been given real attention. People looked at it as a fluffy art form with nothing to say of real significance. “Oh race, that’s too serious, how can a musical be about that?” But it’s all over the place. Because you don’t see African Americans or Asian Americans when you look at show like “Hello Dolly,” people ask how it can be a show about race — there are no people of color present. But that’s almost a misstep. People have missed some of what’s actually in front of their faces.
Somewhere in the universe of critics, a Broadway purist will dismiss “Beautiful: The Carole King Musical” as just another jukebox show.
But don’t mention that to Jarrod Spector, 32, who portrays Barry Mann: “A jukebox musical is something like ‘Mamma Mia,’ where you take a bunch of songs and make up a story around them. ‘Beautiful’ is a bio-musical. Rather than a story out of context, you’re actually getting a look at the genesis of these songs. You’re getting a look at the music industry in the ‘60s, when a bunch of Jewish teenagers sat in little rooms and wrote songs for black singers and soul groups.”
Jake Epstein, 26, who plays Gerry Goffin, adds: “This is a show about how these songs came to be.”
The music of King and Goffin, her writing partner and former husband, and Barry Mann and his wife and writing partner Cynthia Weil, with songs such as “Take Good Care of my Baby,” “Up on the Roof,” “On Broadway” and “Will You Love Me Tomorrow,” among others, helped define the baby boomer generation.
Spector and Epstein spoke to the Forward about the music they listened to growing up, Jewish mothers, and playing drums in a Rage Against the Machine cover band.
Curt Schleier: Were you a fan of this music growing up?
“A Gentleman’s Guide to Love and Murder” is easily the best reviewed musical of the season. It marks the Broadway debut of Robert L. Freedman (book and lyrics) and Steven Lutvak (music and lyrics), who were praised by The New York Times for a score that “establishes itself as one of the most accomplished (and probably the most literate) to be heard on Broadway in the past dozen years or so.”
The play is based on a 1907 novel by Brit Roy Horniman that was turned into a 1949 film, “Kind Hearts and Coronets,” starring Alec Guinness.
It’s a simple tale. Poor Monty Navarro (Bryce Pinkham) is visited by a friend of his late mother, who informs him that he is related to the Earl of Highhurst. It seems his mom was banished when she married Monty’s dad, a Castillian. Now Monty is just eight (soon to be dead) relatives away from an earldom.
Freedman (from Los Angeles) and Lutvak (in New York) spoke to the Forward about the long road from concept to Broadway, the plot’s Jewish antecedents, and creating underdog characters.
Curt Schleier: How did this project begin?
Once upon a time, Americans grew up humming show tunes. They dominated radio airwaves, so, even if you hadn’t seen the musicals (or the films made from them), you knew the melodies and words to the songs of “Oklahoma,” “Carousel” and “My Fair Lady.”
But that changed as pop, rock and rap started to control airtime. Today, it’s a rare Broadway song that cracks the national consciousness. It’s in part for this reason that James Lapine’s HBO documentary, “Six by Sondheim,” which debuts December 9, is so fascinating and important.
Lapine uses archival footage as well as fresh performances by Audra McDonald and America Ferrera of six Stephen Sondheim songs to tell the story of the composer’s fascinating and troubled life.
Some of the stories will be familiar to Sondheim enthusiasts, especially those who’ve read Meryle Secrest’s outstanding biography, “Stephen Sondheim: A Life.” He was a child of divorce. His mother once sent him a note saying she was sorry she gave birth to him. But he lived near the Pennsylvania home of Oscar Hammerstein, who mentored and encouraged him and became almost an adoptive parent.
That turns out to have been entirely appropriate, since Sondheim went on to become heir to Hammerstein (and Rodgers) and certainly the greatest Broadway composer of his generation. His shows, starting with “West Side Story” and including “Gypsy,” “Sunday in the Park With George” and “A Funny Thing Happened on the Way to the Forum.”
He’s sort of like Mozart,” Lapine told the Forward in a telephone interview. “His work is going to live.”
Of course, Lapine is not exactly an unbiased observor. He’s been Sondheim’s partner on several musicals. They shared the Pulitzer for “Sunday in the Park” and Lapine won a half dozen Tonys for directing and writing the book of plays for which Sondheim wrote music. Lapine talked to the Forward about how he and Sondheim met, about their collaborations, and how the film came about.
Curt Schleier: How did you meet Stephen?
Glen Berger wasn’t surprised when the announcement came. He’d had an inkling that “Spiderman: Turn off the Dark” was on the last of its eight legs well before producers made it official.
“I was speaking to some of the actors back in August, and the general feeling was that unless a miracle happens we were going to close in January,” he told the Forward. “It wasn’t the attendance or the grosses, but the weekly running costs were that high.”
Berger was hired by Julie Taymor, who conceived and directed the play, to co-write the book with her. Along with the show’s composers, Bono and The Edge of U2, Berger ultimately split with Taymor, and re-imagined the play, which officially opened in mid-2011.
Berger wrote about that experience in “Song of Spider-Man: The Inside Story of the Most Controversial Musical in Broadway History.” He spoke to the Forward about the critical response to the play, his 13-year leave of absence from Judaism, and what he discovered when he returned.
Curt Schleier: What were you doing when you were selected to co-write Spiderman?
Glen Berger: I was the head writer of the PBS children’s show, “Fetch.” It was an animated program with a mandate to teach science to kids. It was seen every week by 2 or 3 million people. A lot of people say Glen Berger was plucked from obscurity. But my show was seen every week by more people than “The Lion King” in its first five years.
The publication of Alisa Solomon’s “Wonder of Wonders: A Cultural History of Fiddler on the Roof” has seemed to reassert the prominence of “Fiddler” as the Jewish musical to end all Jewish musicals. “Fiddler,” Eileen Reynolds wrote in her review of Solomon’s book, “has achieved something like folklore status in the American imagination, and grapples, as any history of this musical must, with fundamental questions about Jewish identity.”
The same year that “Fiddler” premiered on Broadway, however, another American musical brought not only Jewish themes and narratives to forefront but also a new star to the stage. That was “Funny Girl,” a fast-and-loose biographical telling of the life of entertainer Fanny Brice, played by Barbra Streisand. But unlike “Fiddler,” “Funny Girl” remains undervalued, and is not generally considered to be as important a musical.
In “Fiddler on the Roof,” the American Jewish audience was able see something of itself. This not only had to do with the musical’s presentation of shtetl life, with the spectre of expulsion and pogrom looming over everything, but also with the struggle between tradition and modernity. New political and cultural ideas like Marxism and intermarriage challenge longstanding belief and Tevye, as the embodiment of this antagonism between past and present, seeks to preserve his relationships with his wife and daughters as the shtetl disintegrates around him.
Sheldon Harnick isn’t going to be 90 until next April, but the celebration of that milestone kicks off October 27. That’s when Brooklyn’s Encompass New Opera Theater honors one of Broadway’s greatest lyricists at its annual gala.
The group works with young composers of musical theater and opera. Harnick has been associated with the company for 40 years. So even though he didn’t want to rush the big nine-oh, he agreed to go ahead. A who’s-who of Broadway is involved, including Harold Prince and the Stephens, Schwartz and Sondheim.
Harnick is right at home in that pantheon of the American Songbook. He and his long-time partner Jerry Bock were the musical team behind “Fiorello!” (which won the Pulitzer Prize and Tony) and “Fiddler on the Roof” (nine Tonys), among other plays.
And age hasn’t slowed him down. He’s shopping a new musical based on a Molière play, “The Doctor in Spite of Himself.” There’ll be mini-productions of five of his lesser-known plays at the York Theater in Manhattan later this season. And he and his wife, Margery, have collaborated on a coffee table book, “The Outdoor Museum,” which combines her photographs of New York with his poems.
The lyricist spoke to The Arty Semite from his home in East Hampton about what’s going on in his life, early negative reaction to “Fiddler” and how Sondheim almost derailed his career.
Curt Schleier: With this big birthday coming up, do you think back and say, “Holy Moly. This was a great life”?
First dates are always problematic. That’s especially true when it’s a blind date. The inherent tensions of the situation form the humorous backdrop for a new Broadway musical, “First Date.”
Aaron (Zachary Levi) is a little uptight; Casey (Krysta Rodriguez) is less so. It does not look like this is a match made in heaven. Or is it?
The play was written by Austin Winsberg with music and lyrics provided by his friends, Alan Zachary and Michael Weiner. “The idea came from us, three Jewish boys who dated a lot of girls, and what we thought of the dating world,” Winsberg told The Arty Semite.
This is the first play for Winsberg, whose background is mostly in film and television (“Jake in Progress,” “Still Standing”). He spoke to the Forward about his blind date experiences, dealing with some “mean spirited” reviews and his own bar mitzvah — in Israel, at age 19.
Curt Schleier: Did you meet your wife on a blind date?
Austin Winsberg: I did, actually. My best friend growing up is her third cousin. They hadn’t seen each other for a long time and reconnected at a Mother’s Day reunion. He and I have the same taste, and he told me had this wonderful person for me he wanted to set me up with. I asked him if she’s so great why don’t you want her. He said it was because she was his cousin. So we went out to dinner.
How did it go?
“Kinky Boots” won six Tony awards on Sunday including the top award of best musical and a prize for its composer, pop queen Cyndi Lauper, as Broadway presented its top honors.
Lauper won best score for her first Broadway musical, “Kinky Boots,” an adaptation of a British film about a struggling shoe factory reinventing itself by making boots for drag queens.
The hit musical topped the nominations with 13 and also won best actor in a musical for Billy Porter, best choreography, orchestrations and sound design.
A tearful Lauper said “I can’t say I wasn’t practicing in front of the shower curtain for the past couple of days,” and went on to “thank Broadway, for welcoming me.”
Porter, who as the strong, proud drag queen is at the show’s heart, said he first watched the Tony telecast at home at age 11, and recalled a performance from the musical “Dreamgirls” by saying “That moment has changed my life.”
The best play Tony was won by “Vanya and Sonia and Masha and Spike,” a crowd-pleasing comic riff on Anton Chekhov’s work by veteran playwright Christopher Durang that stars Sigourney Weaver and David Hyde Pierce.
Stephen Sondheim turns 83 today — a birthday always worth noting, though this time it will pass without an entire year of galas and concerts, as was the case on the composer’s 80th. Even considering the Jewish contributors to modern American musical theater — Jerome Kern, George and Ira Gershwin, Irving Berlin, Richard Rodgers, Lorenz Hart, Leonard Bernstein (and many, many more) — it is Sondheim who has done the most to explore what is possible within the boundaries of the musical form. He is constantly pushing and reinventing, making musicals about ideas, themes, and plots that few other composers would have taken on. As such, I have selected what I consider to be his three finest musicals, though dissent in the comments section is welcome.
“A man with no emotional commitments reassesses his life on his 35th birthday by reviewing his relationships with his married acquaintances and girlfriends. That is the entire plot.”
In fact, there isn’t really a plot at all to Stephen Sondheim’s “Company,” which is what makes show such an important break in the history of the American musical. “Company” derives its content from a series of one-act plays written by George Furth, all about a couple in a relationship and an outsider. In the finished piece, the outsiders were composited into a single character, Bobby, with each song a one-act play in itself, a window into the life of Bobby and his relationships with these married couples.
The original “Hairspray” (1988) was a weird little movie made by cult director John Waters about rock and roll and race relations in 1960s Baltimore. Then it became a smash musical on Broadway, then a 2007 film adaptation of that Broadway hit. Now, the show is coming to Jerusalem, with a community theater production featuring 32 Anglo-Israeli and Ethiopian-Israeli singers, dancers and actors who share the stage and the spotlight.
Hairspray’s local-girl-makes-good story was groundbreaking enough because of its main character, Tracy Turnblad, a non-willowy, self-confident dynamo who won’t be discouraged just because she looks like the real girl next door. But the narrative pushes two additional buttons as well: race relations — an issue which defined Baltimore in the 1960s, as integration swept through a still-adjusting nation — and women’s empowerment, which enables self-effacing housewife Edna Turnblad to reclaim her zest for life, and to transform herself into a civil rights activist her daughter can look up to.
With empowerment, freedom, confidence and racial equality as its thematic DNA, the production hits Jerusalem for six shows between March 5 and 21.
“Hairspray is almost more relevant here than it ever was in the States, since it was written at a time when segregation and institutionalized racism were mostly things of the past in America,” Director Eli Kaplan-Wildmann explained. “Our cast is made up of people who face these issues today in their own lives, and we hope to bring an awareness of that to Jerusalem.”
When my parents landed in New York in 1947 they were assigned a case worker. I’m not sure who did the assigning, but I remember my father saying how puzzled he was. “Case” was German for cheese, and he didn’t understand why he needed a cheese worker.
My parents didn’t tell many stories about their early lives, about crossing the border from Austria into Switzerland after the Anschluss or how they got to the goldene medina. Perhaps I didn’t ask the right questions.
But that particular anecdote stayed with me, because it was about their life at the precipice. They were starting a new life in a new land with a new language, one briefly filled with optimism and faith that life could and would be better.
Perhaps that is why I am such a fan of the new National Yiddish Theatre-Folksbiene production of “The Golden Land,” a joyous celebration of the turn-of-the-century Jewish immigrant experience.
“Scandalous,” the new Broadway musical about evangelist Aimee Semple McPherson, was written by Kathie Lee Gifford. No surprise there. Gifford is a well-known born-again Christian with, presumably, an interest in the work of a crusading missionary.
But in a fit of ecumenical irony (or common sense), the two guys she picked to supply the bouncy, gospel-infused music are two Davids, Pomeranz and Friedman, who are singers, composers and Jews who grew up in the New York City area.
Both Pomeranz and Friedman had worked individually on projects with Gifford, but they never worked together until 2005, when Gifford asked them to collaborate on the play, then called “Saving Aimee.” They spoke to The Arty Semite about growing up, why their work on the show isn’t really surprising, and why so much of the American songbook was composed by Jews.
Curt Schleier: What are two Jewish guys doing on this musical? Do either of you feel any Jewish guilt?
David Pomeranz: Not in the slightest, because what we’re talking about in this play is a great woman. None of us are writing a religious play. It’s about a fascinating life, a brave woman who followed her personal private relationship with God, did what was the right thing to do and ran into her own personal problems. Any great person has that dichotomy. They are inspired to do something great and the khazeray in their minds gives them a rough time. That’s what this story is about, a fascinating look into a very complex woman.
What’s your socialist bubbe got to do with the Queen of Pop? That’s the question at the heart of “The Material World,” the new Dan Fishback musical headlining this summer’s HOT! Festival at New York City’s Dixon Place. The setting for the show is a dream-world 1920s Bronx boarding house where a family of Russian Jewish socialists lives with Madonna, Britney Spears and a gay teenager plotting a Facebook revolution.
Though Fishback, a 30-year-old playwright, performance artist and 2007 recipient of a Six Points Fellowship for Emerging Jewish Artists, cautions that the play isn’t strictly autobiographical, “The Material World” draws inspiration from his family’s socialist roots. His great-grandfather was sent to Siberia after the 1905 revolution and, following a daring escape from Russia (hidden under a train car, according to Fishback family lore), found his way to the Bronx and became the chief compositor of the Forverts. As girls, Fishback’s paternal grandmother and her two sisters were members of the Young People’s Socialist League, and were raised in a household where the prominent socialist writers of the time stopped by to debate politics around the kitchen table.
A fourth-generation activist, Fishback demonstrated against the Iraq war as a college student in the early 2000s, following in the footsteps of his father, who was involved in the civil rights and anti-war movements of the 1960s and ’70s. “I grew up thinking Martin Luther King Day was a Jewish holiday because we celebrated it in shul,” Fishback told the Forward in a recent interview. Political commitment was valued so strongly among his family members and their circle of friends, he said, that he grew up viewing the revolutionary spirit as more essential to Jewish identity than religious belief. “My grandmother sort of humored my parents by joining our synagogue,” Fishback said, “but she would turn to me in the middle of a service and whisper, ‘God doesn’t exist.’” (Her sister was Ruth Barcan Marcus, the noted philosopher and logician who died in February.)
The avowed intention of director Diane Paulus and writer Suzan-Lori Parks in “reimagining” “Porgy and Bess” was to invest the opera with a sensibility that would reach modern audiences and “fully realize the characters.” That is, they hoped to achieve a theatrical authenticity they believed was missing in the original.
Their statements, which included a proposed new “happy” ending for the story, set off a firestorm, much of which has already been covered in the pages of the Forward. The new ending was dropped, though numerous other changes remain. The final result? Judging from a recent performance, the production is terribly flawed, with occasional moments of brilliance supplied by the superb lead actors.
Paulus told Vanity Fair: “What I want is for people to come to it and say, ‘I always knew the music was great, but what a story!’” Yet the beauty of Gershwin’s music has been lost through inept, small-scale rearrangements. Gone are the majesty, richness, and intricate textures of the innovative masterpiece. We are left instead with a kind of pop pap. What’s more, some of the cast members are simply not up to the job; “My Man’s Gone Now” was barely recognizable in Bryonha Marie Parham’s histrionic and imprecise rendering, while the anemic instrumental background robbed us of the original’s gripping adventurousness.
On March 26, a day after the premiere of the new season of “Mad Men,” a group of New Yorkers packed into Lincoln Center’s Avery Fisher hall to soak up another dose of mid-century nostalgia: the New York Philharmonic’s spring gala program “Anywhere I Wander: The Frank Loesser Songbook,” featuring the works of the Jewish composer and lyricist who reigned during the glitzy heyday of the American musical comedy.
It was Marvin Hamlisch who wrote that “everyone is beautiful at the ballet” — no one, to my knowledge, has ever claimed the same about the philharmonic — and yet on this chilly spring evening an air of old-fashioned glamour wafted through the hall. Women wore furs; champagne was sipped. As the orchestra noodled onstage, the trumpeter practicing not a tough lick from Tchaikovsky but rather the swelling, love-struck strains of Loesser’s “Rosemary,” something like titillation rippled through the crowd.
I suspect that certain people like hearing the Philharmonic — in this case led by Ted Sterling with a lineup of Broadway veterans and opera superstar Bryn Terfel — play this sort of thing more than they care to admit. Broadway tunes are what orchestras trot out for outdoor picnics and the pops concerts that make classical music purists wince, and yet it’s significant that the Philharmonic has chosen to feature musical theater composers (Loesser this year, Stephen Sondheim the past two) when the goal is to delight its most generous patrons, who are ostensibly devotees of more serious fare.
“Up From The Stacks” is musical theater, but like no other performance that you may have seen.
The show, which originally appeared in 2011 in New York and had its West Coast premiere February 23 at the Jewish Community Center of San Francisco, tells the story of college student Lincoln Cabinée, who has a part-time job as a page at the main building of the New York Public Library. As we watch Lincoln retrieve books from the stacks below, we encounter a cast of characters populating the catalogue and reading rooms above. Given that the play is set in 1975, decades before 42nd Street was made family friendly, it all takes place against a backdrop of seedy shops and porn palaces.
The offbeat stream-of-consciousness libretto, written by cartoonist Ben Katchor and sung by his collaborator, composer Mark Mulcahy, itself renders “Up From The Stacks” unusual. But what makes the libretto stunning is the perfectly timed projection of Katchor’s colorful panels onto a huge screen hanging above and to the right of Mulcahy and his three-member band. Although there is motion in some of the scenes, it’s not quite what you would call animation.
MacDougal Street today can hardly be described as paradise. Crammed with NYU students jostling for falafel, or the bridge-and-tunnel crowd fighting for a seat at Panchito’s, it’s difficult to picture the street as a hub of subversion and artistry. But once upon a time, it was.
In the 1920s, a Polish Jewish lesbian immigrant named Eve Adams (born Eva Kotchever) owned and operated a tearoom on the block that showcased the work of local writers, musicians and poets. Now Barbara Kahn’s musical, “Unreachable Eden,” which opened February 9 at Theater for the New City, tells the heartbreaking tale of Adams’ deportation from her adopted country, and her struggle to return in the years leading up to the Second World War.
At one point in the musical “Soul Doctor,” an actor says, “There are two types of Jews. Those who have heard of Shlomo Carlebach and those who haven’t — yet.” For either type, “Soul Doctor: The Journey of a Rockstar-Rabbi” can be an enlightening experience.
During his lifetime, Carlebach was known as “The Singing Rabbi” for his use of joyous, Hasidic-inspired music to engage those he called “lost Jewish souls.” His unorthodox path put him in conflict with his mother and rabbi father, but ultimately made him the charismatic legend he became. If “Fiddler on the Roof” is about tradition, “Soul Doctor” is about breaking with tradition, even if that meant, as in Carlebach’s case, breaking his father’s heart.
After a five-week run in Miami and Ft. Lauderdale, the biographical show, which bills itself as “pre-Broadway,” could benefit from some judicious nipping-and-tucking. The play compresses Carlebach’s 69 years into a two-act play with 37 scenes, performed by a cast of 18 and featuring 30-plus musical numbers. The play’s co-creator and associate director, David Schechter, wrote some of the lyrics, but most of the songs are Carlebach’s.
Is there room for a klezmer musical on Broadway? I think so. The band for “Shlemiel the First,” led by the Folksbiene National Yiddish Theatre’s Zalmen Mlotek, is so good that during the exit music a sizeable portion of the audience drifted down toward the pit instead of up to the exits. Costumed as an Old Country klezmer band, they even march onstage sometimes, but it’s at intermission and afterward that they really wail. And that is terrific stuff, particularly Dmitri “Zisl” Slepovitch’s clarinet, Yaeko Miranda Elmaleh’s violin and Mlotek’s keyboard. Hoo boy, good.
When the show travels — and it should, if tweaked a bit — the creators should put in more places for the band to strut their stuff. The show by Robert Brustein, with lyrics by Arnold Weinsten and music by Hankus Netsky, is intact from the version we reviewed in Montclair in 2010 (read that review here, and our interview with Brustein and Mlotek, which highlights the Yiddish theater sources, here).