LGBTQ news and entertainment
A sneak preview to whet your appetite for Broadway Bares XXI: Masterpiece, which takes the stage June 19, 2011.
Broadway Bares, conceived by Tony Award-winning director and choreographer Jerry Mitchell, is Broadway’s hottest night of the year, featuring more than 200 of the sexiest dancers in show business in an eye-popping spectacular revue of song, dance and burlesque.
Since 1992, the 20 editions have raised more than $7.4 million for Broadway Cares/Equity Fights AIDS.
In 2001, I was cast in the Broadway musical “Seussical” before it closed. I had been working in Philadelphia at the Walnut Street Theater assisting a director and acting as dance captain for a production of “A Chorus Line.” Shortly before opening in Philly, “Seussical” called and, having previously auditioned for the choreographer Kathleen Marshall, offered me a job. I knew “Seussical” wasn’t doing well in terms of ticket sales, but it was limping along. And I had recently returned to NYC from the West Coast with the intention of performing on Broadway again. But before I said yes, my agent asked about the show possibly closing and the casting director said “we wouldn’t be hiring Randy if we were closing.” So for the first time in my life, on a Sunday night, I gave my notice. The next day Walnut Street Theater found my replacement and sent out contracts. The next day, my replacement signed the contracts and sent them back. And on Wednesday, as Walnut Street received my replacement’s contracts, I got word – three days after I had given my notice – “Seussical” posted it’s notice. No way out – I was out of both jobs. I had to leave four days later. For a week and a half I wandered around NYC depressed that this “thing” had happened to me. I whined in my head as I walked the streets of the upper west side – “but I’m a good person… woe is me…”
Then, as I was leaving an audition for Susan Stroman’s “Thou Shalt Not” (the casting folks seemed to like me, then they did not) I got a call from the Roundabout Theatre Company. Aldrin Gonzalez had given his notice to leave “FOLLIES” and when asked, Kathleen Marshall remembered me getting the short end of things said “Call Randy Slovacek” (I had auditioned for “FOLLIES” back in the original auditions). They called, said if I fit the costumes the job was mine. I quickly – and hopefully – asked ‘who is leaving?’ (Please please please let me fit the costumes…) Upon hearing Aldrin’s name, I literally ran that minute the two blocks from the audition from which I had just been cut to the Belasco Theater on 44th Street to try on the costumes, knowing they would fit. (Thank you Aldrin, thank you Aldrin, thank you Aldrin…) Not only did the costumes fit, but the show was a great fit for me. I LOVED joining such a wonderful company. I had replaced in Broadway shows before and it’s not always the case that you are so warmly welcomed into an already running show. Everyone was so supportive and friendly. I thoroughly enjoyed doing “FOLLIES” – the material was intoxicating just to be a part of. But more than that, I loved the company. For one week, I rehearsed during the day and watched the show at night from the back of the house. And then it was show-time. A funny story about my first performance: Rehearsals had been very low-key as I was only in three numbers in Act Two and had about six slow crosses through the “party” as a waiter in Act One. So the stage manager would walk me through my crosses and directed my moments of interacting with the other actors. Easy-breezy. One more thing: I would be one of the first actors to enter at the top of the show after a brief prologue featuring Judith Ivey. After her short first scene, a door would open and I was to lead the “party-goers” onto stage as I carried a 40 pound party table that was awkward due to a car battery underneath it’s table cloth that powered the lamp on the table. So, on my first night in the show, as Judith gave the cue and the huge upstage door slid open, I took a deep breath and stepped forward with my table – thrilled to be back on Broadway. HOWEVER, one thing we had failed to make note of during those low-key rehearsals: there was a step up of a few inches as you stepped onto ‘the deck’ of the stage. I missed that. And as I missed it, I tripped, and fell forward. For the longest 8 seconds of my life I did an heart stopping impersonation of Jerry Lewis as I lurched and slipped and saw my life flash before my eyes. All in front of a Broadway audience. With the entire cast behind me. As I lurched practically alone on center stage, I finally – miraculously – found my balance and snapped to upright posture dead center stage, and continued as if nothing had happened. In the back of the theater I saw Rod McCune, our dance captain, toss his notepad in the air and fall out of sight to the floor. Ah, well. Life. Welcome back to Broadway. 🙂 Throughout the run, I took every chance to watch the cast’s beautiful performances from the wings. Magic. The words, the music and the crush of youthful memories. And, because I was finished for Act One before Polly Bergen’s “I’m Still Here,” I would head to the back of the house via the basement and watch her at least six times a week. I never got tired of watching her show-stopping anthem to survivorship. We closed on my birthday, btw, which I share with Polly Bergen. From the Tony Awards that year (Polly and Blythe were nominated, as well as Theoni Aldredge for costumes, Jonathan Tunick for orchestrations and also for Best Revival): This past Monday, the cast gathered together for a 10th Anniversary reunion, prompted in part by the passing of our dear cast member Betty Garrett. I flew across the country purely to attend what would be a genuinely warm, comfortable and loving gathering of a cast; while we may have only spent about five months together in 2001, you’d never know it from the energy at Judith Ivey’s home. Just as “FOLLIES” explores, this production represented special memories for the performers who lived it, and we were coming back to “glamorize the old days, stumble through a song or two, and lie about ourselves… a little.” Except there were no lies, only love.
Within seconds of walking into the party I saw beautiful Blythe Danner, who caught my eyes, immediately took my hand and hugged me. I was in heaven. I’ve loved Blythe’s work for so long – Will & Grace, Huff, Streetcar Named Desire – but this was a moment made of friendship. Years fell away and I felt family around me. As I moved through Judith Ivey’s wonderful home, I was greeted by smiles and “hellos” and hugs. Everyone in the room was beaming wherever they looked. Seeing Gregory Harrison was a special smile to share as not only had we done “FOLLIES” together but we played in the musical “CHICAGO” together for a year soon after the “FOLLIES” run. I had seen “FOLLIES” many times before I joined the Broadway revival but never really understood the open truth and honesty of the song “The Road You Didn’t Take” until I saw him in our show. Judith Ivey, besides being the picture of talent, was the most wonderful hostess. I have indelible theatrical memories of Judith from her recent triumph of “Glass Menagerie” to our run of “FOLLIES” and going back to her moving yet funny turn in “Precious Sons” on Broadway with Ed Harris in the 1980s. (Actually the first time I introduced myself to Judith backstage at “FOLLIES” I recalled to her one of the funniest moments I’d ever seen on Broadway from her performance in “Precious Sons.” She squealed that I remember it.) Then there’s Treat Williams. What a great star, but moreso, what a great actor. I knew of his work as a strong Hollywood leading man. Handsome, sometimes quirky. But in “FOLLIES” he brought not only his leading man qualities, but a “hang-dog” vulnerability that was disarming. And then getting to know him backstage, he was and is approachable, smiling and open to getting to know everyone. Not only did the cast come together but our director – Matthew Warchus – and choreographer – the fantastic Kathleen Marshall – came to celebrate this theatrical family. I caught up with so many people I loved working with: Alison Tucker, Joey Sorge, Richard Roland, Sally Mae Dunn, Joe Langworth, my dear T. Oliver Reid,… I could honestly go on and on and on. I thought I would be at the party for a few hours, but at 1AM I started following folks out as the party wound down. Much like the party-goers from our show, except in this instance at the end of the evening there were no regrets. Just joy. And we headed out into the night floating on the gift that was “FOLLIES.”
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| In my mind I always think of them as “the Follies fab four” – Gregory Harrison, Blythe Danner, Judith Ivey and Treat Williams |
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| With Blythe Danner. Words won’t do justice to how happy I am in this photo. |
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| With Gregory Harrison. I also played in CHICAGO for a year with Greg. |
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| Judith Ivey in a dramatic pose. |
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| With Treat Williams. What more do I need to say? |
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| With the wonderful Polly Bergen. We share the same birthday! |
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| Me with Blythe and Gregory |
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| Blythe, me, Gregory, Dorothy, Richard, Treat, Nancy, Matt, Joey and Alison I think you can get the sense we all like each other, no? |
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| Blythe, me, Dorothy, Nancy, Richard, Matt, Joey and Alison |
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| The ladies of FOLLIES |
The NY Times has a terrific slide show with commentary from Jerry Mitchell (the choreographer of CATCH ME IF YOU CAN), Rob Ashford (director/choreographer of HOW TO SUCCEED…) and Kathleen Marshall (dir/choreographer of ANYTHING GOES) on how and why a show-stopping number is built.
Great photos and great to read what the underlying ideas are in each.
Go! See and read!
Just fascinating to hear how this great artist directs and explores even his own work.
RIP Mr. Laurents and thank you.
Reports are out saying that legendary director and writer Arthur Laurents has passed away at 93 years old, dying in his sleep.
He wrote his first musical, West Side Story, in 1957, followed by Gypsy and others.
His first screenplay was The Snake Pit in 1948, followed by others including Rope, Anastasia, The Way We Were and The Turning Point. His own play, Invitation to a March in 1960, was the first of several he directed. I Can Get It for You Wholesale in 1961 was the first musical he directed, followed by others including La Cage aux Folles and Gypsy with Angela Lansbury, then Tyne Daly and most recently, Patti LuPone.
In 2000, he wrote a memoir, Original Story By. His latest book, Mainly on Directing: West Side Story, Gypsy, and Other Musicals, was published in March 2009. Most recently, he was writing a new book, The Rest of The Story and working on a potential deal for a film version of Gypsy starring Barbra Streisand.
Established in 2010, The LAURENTS / HATCHER FOUNDATION AWARD is an annual prize to be given for an un-produced, full-length play of social relevance by an emerging American playwright. In addition to being one of the country’s largest grants for new work, The Laurents / Hatcher Foundation Award is the first major award for playwrighting to be named in honor of a gay couple: Tony Award winning playwright and director Arthur Laurents and his partner of 52 years, Tom Hatcher.
Tom Hatcher, Laurent’s long-time partner died in October 2006. Hatcher had begun his career as an actor but moved into real estate as a contractor and then as a developer. He created the private park adjoining the house in Quogue, Long Island that was home for the couple.
On a personal note, my very first musical I ever performed in was “GYPSY”. It changed my life. I got my Equity card performing in “WEST SIDE STORY” and had the great gift of performing in the ground-breaking show many times. His direction of “LA CAGE AUX FOLLES” brought a new advancement to the LGBT community by being portrayed on a major Broadway stage.
Mr. Laurents’ talents were vast and great. He will be missed.
(via broadwayworld.com)
I remember when this first aired. I loved when TV had specials like this with Broadway stars.
Never in my wildest dreams did I ever think I would end up working with all three of these fantastic Tony Award winners. And in some of their biggest successes. I performed in CHICAGO with Chita in the National company; performed in CHICAGO for Ann on Broadway; and performed in A CHORUS LINE with Donna in the National company. How cool is that?
Take a second and enjoy – this was a good time. And great talent.
I saw the show in NYC last week. Had a great time.
Tony Sheldon was nominated for an Outer Critics Circle Award this week as the older, transexual drag queen. The whole cast does a terrific job – the principals AND the ensemble (or as I like to call them – “the backbone of the American Musical theater”).
I have to give a special shout-out to Nathan Lee Graham who took every moment on-stage and made the most of it. Creative, engaging and committed, Nathan had me howling through the whole show on his own.
If you’re in NYC go see this show. It’s not “Medea” but it’s a great time.
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| With Nathan Lee Graham backstage after Priscilla Queen of the Desert on Bway |
The legendary Broadway star Carol Channing in Hello, Dolly!
“Nobody’s going for a long con here. They’re all just looking to get you through the night, and this they achieve (“in style,” as Frank promises) with flying colors and a few bonus miles left over. Seized by the acrobatic nostalgia of Jerry Mitchell’s excellent choreography, (the female chorus) uncurl like newborn butterflies who’ve been doing nonstop Pilates in the chrysalis. By the time the orchestra goes silent and things get dark for swingin’ Frank, their relationship feels a lot more earned than I’d ever expected. Maybe I got conned. If so, I didn’t mind.” – NY Magazine
“Marc Shaiman and Scott Wittman again prove themselves an ace songwriting team. Their score evokes cocktail lounges, glitzy floorshows, Rat Pack suaveness, mellow jazz and energized go-go, all wrapped up in Shaiman and Larry Blank’s silky-smooth ‘60s-styled orchestrations. Jerry Mitchell’s choreography puts a vigorous period-appropriate spin on every number. As Hanratty, Butz (a Tony winner for Dirty Rotten Scoundrels) does nuanced work balancing the jaded, paunchy slob with the wisecracking professional, driven in his quest to catch Frank. The boyishly handsome Tveit, who turned heads in Next to Normal, graduates to a lead role with sparkling self-assurance, strong pipes and natural charm.” – The Hollywood Reporter/Reuters
“Mr. Butz so completely takes on the stoop, shuffle, mumble and pallor of an overworked, middle-aged man, stopped the show with “Don’t Break the Rules,” a number about how Carl got into police work. Holding on to his character’s sad sack mannerisms, and leading with his convex belly, Mr. Butz works the friction between Carl’s dumpy, arthritic form and the jivey spiritedness of the song to create a witty portrait of the passion that pulses within one gray, weary soul.” – NY Times
“Conductor John McDaniel presides from a perch in the stage right corner, bobbing along to swinging orchestrations by Shaiman and Larry Blank. That musical sound and the perfs from Butz and Tveit (with assists from the briefly seen Butler and Hart) offer considerable entertainment value.” – Variety
The new Broadway musical “The Book of Mormon” opened to rave reviews last night.
The NY Times Ben Brantley wrote: “This is to all the doubters and deniers out there, the ones who say that heaven on Broadway does not exist, that it’s only some myth our ancestors dreamed up. I am here to report that a newborn, old-fashioned, pleasure-giving musical has arrived at the Eugene O’Neill Theater, the kind our grandparents told us left them walking on air if not on water. So hie thee hence, nonbelievers (and believers too), to “The Book of Mormon,” and feast upon its sweetness.”
The New York Daily News wrote: “Matt Stone and Trey Parker, the envelope-pushing pair behind “South Park,” and Robert Lopez, the composer of “Avenue Q,” delivered this baby. And, oh boy, it’s a real winner. The show is blissfully original, irreverent, outspoken and hilarious. And all that’s tucked inside good — no, great — old-fashioned musical.”
The New York Post wrote: “Sure enough, “The Book of Mormon,” which opened last night, is all that — and much, much more. It’s a fiendishly well-crafted, hilariously smart — or maybe smartly hilarious — song-and-dance extravaganza. The show’s a hoot. The show’s a hit.”
So there you have it kids. Go see a real, bonafide Broadway hit with wit.