After The Sound of Music Live and Peter Pan Live, NBC “eases down the road” to Oz with a new live production of the 1970s hit musical, The Wiz Live!.
Starring Queen Latifah, Mary J. Blige, Common, Ne-Yo, David Alan Grier, Elijah Kelley, Stephanie Mills, Amber Riley, Uzo Aduba and Shanice Williams as Dorothy.
On last night’s 60 Minutes on CBS, Charlie Rose went behind the curtain to report on Lin-Manuel Miranda’s new original Broadway musical Hamilton, far and away the most acclaimed new show of the year.
Watch the feature in full below, along with ’60 Minutes Overtime’ segments which give viewers a backstage tour of the Richard Rodgers Theatere and go behind-the-scenes of the making of the Hamilton cast recording.
First teaser for NBC’s The Wiz Live!, starring Queen Latifah, Mary J. Blige, Shanice Williams, David Alan Grier, Ne-Yo, Elijah Kelley, Common and more,
Nice to see the network swing into some diversity here with it’s third holiday musical presentation after The Sound of Music and Peter Pan. Loving the costume design.
Regular readers of The Randy Report know I spend half my life as a freelance writer and blogger here at The Randy Report, and the the other half working in the theater as a director/choreographer.
The past two weeks I’ve been deep in rehearsals choreographing Hello, Dolly! at the Wick Theater in Boca Raton, Florida, with my Dolly! partner in crime and Broadway stalwart, Lee Roy Reams. This marks our 8th production of Dolly! together, but this one has a twist 🙂
Not only are we exploring this gorgeous Jerry Herman/Michael Stewart show once again, we’re digging into even deeper levels as Lee Roy becomes the first male actor in America to play the leading role.
In an era of marriage equality and LGBT rights becoming a regular part of the daily news cycle, what could be more appropriate? And to be clear – Lee Roy is very specific in his portrayal. He is not playing a drag queen, he’s playing “Dolly Levi” straight – no winking at the audience.
Photo: Amy Pasquantonio
“Danny La Rue did it years ago in England,” Reams says. “But I never saw that show. In England they are accustomed to men playing women’s roles and vice versa.”
The production and casting come complete with the blessing of Dolly! composer/lyricist Jerry Herman, who won Tony Awards for not only Hello, Dolly! but Mame and La Cage Aux Folles.
“I love this show,” Reams says. “It was my second show with Carol Channing. When I was in ‘Lorelei’ with Carol we became close. When they were doing a revival she called me. That voice. She said, ‘Hello Lee Roy. It’s Carol.’ Like I didn’t know. She said, ‘Look, I want you to play Cornelius Hackl. The director doesn’t know you, so you have to audition. But don’t worry, you got the job.’ “
He has directed Uggams, Madeline Kahn, Michele Lee, French star Nicole Croisille and others in the role over the years.
Reams adds, “Bringing a male perspective to that character will make it more interesting to me. I’ve told so many ladies how to do it and now I’ll find out if what I said works.
“The atmosphere is prime. It’s time. People are no longer being told what they should play. People can play all kinds of roles now, regardless [of] their sexual orientation or ethnicity. I think we’re all more open to that now. And I think (producer) Marilynn Wick is so brave to do this.”
The reviews are just starting to come in, and they are raves. Rod Stafford Hagwood, reviewing for SouthFlorida.com, wrote;
“He (Reams) has given the 51-year-old musical a sense of briskness and brightness with some triumphant choreography by Randy Slovacek and wow-pow moments courtesy of musical director Michael Ursua.”
This isn’t the first time Reams has broken barriers: in 1970 he became the first actor to play an openly gay character in a major Broadway musical. Long before others bravely hit the boards in gay roles, Reams played Lauren Bacall’s openly gay hairdresser & confidante “Duane Fox” in Applause in 1970. One of our great “elder gays,” he has represented the gay community proudly, never attempting to hide who he is.
Beyond the gender bending aspect of this production, Reams adds that the story’s themes are what make the show still relevant today, especially in a presidential election cycle.
“The thing that continues to amaze me is how good a show it is,” Reams says. “The music is just perfect and the book is so strong. That money speech is as current now as it was then. That’s when Dolly says, ‘The surest way to keep us out of harm is to give us the four or five human pleasures that are right in the world… and that takes a little money.’
“And then she says, ‘The difference between a little money and no money at all is enormous, and can shatter the world. And the difference between a little money and an enormous amount of money is very slight, and that can shatter the world too.’
“Now tell me that isn’t what everything going on these days in the news is all about?”
Hello, Dolly! runs through Dec. 6 at the Wick Theatre in Boca Raton, FL. For ticket info, go to TheWick.org.
From his upcoming PBS special based on his current album exploring the Broadway songbook, Josh Groban and guest Kelly Clarkson sing “All I Ask of You” from Andrew Lloyd Weber’s The Phantom Of The Opera.
I have it good authority that Groban was urged to do a Broadway/standards album for years by members of his team but the pseudo-opera singer resisted, instead recording much of the lack-luster pop/crossover material he’s released in recent years, much of that self-penned.
I’ve been a fan of his earlier recordings, but in the past year or so his voice seems a bit “tight” to me and he seems to lack the vocal prowess he once had. If you watched this year’s Tony Awards, you know what I mean.
I don’t know if he changed coaches or regimen, but it is noticeable. Additionally, he continues his annoying habit of singing with his eyes closed, which has bothered me for years.
That said, I so like several tracks on the Broadway album. Given the right material, there’s no denying Groban can be a talented vocalist. You can check it out on iTunes here.
I’m in rehearsals for Hello, Dolly! at The Wick Theater in Boca Raton, Florida, so I figure it’s time for a little #TBT.
The above pic was from the 1995 Broadway revival of Dolly with Carol Channing (who else?) at the Lunt-Fontanne Theater on West 46th Street, taken during the “Hello Dolly” number. I’m far right in the pic closest to Carol (there in the shadows, but happy to be there).
Below is the end of the very athletic “Waiter’s Gallop.” I’m second from the left with the shish kabob in my hand. Please note my pulled up feet 🙂
Staging the show now, and passing on what I learned with such a beautiful, wonderful company on Broadway always makes me smile.
Just to underscore that, I always share that in 22 months, no one left the company. We were all so happy to be there. That sounds so pollyanna, but it’s true. Trust me – that isn’t always the atmosphere backstage on Broadway.
I’ve been working hard in Boca Raton, Florida, this week where I’m choreographing Hello, Dolly! again with my partner in crime, Lee Roy Reams.
This time will be a little different, though, because Lee Roy is not only directing again but starring – as “Dolly Levi.”
This was the first week of rehearsals and this morning we do a crawl through of Act One. The dancers have been great picking up all the choreography, and working with Lewis Stadlen, James Clow and Susan Powell again on this show has made me laugh all week.
Next week we move on to Act Two, including the “big number” itself – “Hello Dolly.”
So I was in the mood to throw back to 1995 when I did this fab musical wonder with the original legend herself, Carol Channing.
October 19, 1975, A Chorus Line officially opened on Broadway at the Shubert Theatre
Time: Now. – Place. Here.
“The characters portrayed in A CHORUS LINE are, for the most part, based upon the lives of Broadway dancers. This show is dedicated to anyone who has ever danced in a chorus or marched in step…anywhere.”
It’s difficult to calculate the impact the show has had on my life and career. As many long-time readers know, I performed in two national touring companies of the show, working at different time with several of the now legendary original cast members including Tony Award winners Donna McKechnie, Kelly Bishop, Priscilla Lopez, plus Baayork Lee, Thommie Walsh and Kay Cole.
I also came thisclose to being cast in the Broadway production twice. Life.
Since then, I’ve passed on what I learned from those greats by staging almost a dozen productions of the show.