Back from New York

Back from my whirlwind, exhausting but exhilarating four days in New York City. Great shows, great friends, great sightseeing - the Triple Crown of vacations.

Okay, the reviews will come soon but first a few observations:

Big congratulations to Steve Loucks, better known by his nom de blog, Steve on Broadway, for being quoted in The Wall Street Journal's weekend edition for a story on theatre etiquette (or lack thereof). I'm so proud and so thrilled when a dear friend and fellow blogger is recognized. As usual, SOB was eloquent and right on the mark with his observation. Well done!

Speaking of etiquette, there were two disturbing things to report at Exit the King.

First, I heard some patrons who were sitting in the last row of the orchestra complaining at intermission that they could hear people talking behind them during the show. Please, remember that while you may be standing outside the auditorium, the people inside can hear you! Take your conversation outside to the lobby or downstairs to the lounge.

Also, at the beginning of the show, an usher kept walking up and down the aisle in the orchestra, stopping at a row near the front. One couple got up and left, so I thought that was the end of it but it went on for about 10 more minutes. At one point, he seemed to pass a note to someone. Finally, he threw his hands up in a gesture of exasperation and walked out.

If it was an emergency, I totally understand. But in that case, perhaps they should have stopped the play?

I've been to Studio 54 three times now, but Waiting for Godot was the first play I've seen there, the first Saturday matinee and the first time I'd heard the rumbling of the subway trains under my feet. It was quite noticeable throughout the show and at first, I thought it was a sound effect.

And Roundabout, you really should discount the last two seats on the far right and far left of every row in the orchestra. The sightlines weren't too bad for Godot, but c'mon. It's not fair.

It was so exciting to see Neil Patrick Harris going in the stage door after Godot. People were asking for his autograph and pictures. He said he would oblige when he came out. And I'm happy to report that he's a man of his word. Even though he probably had a million Tony-hosting related things to do, NPH very graciously signed autographs and posed for pictures. Very cute and very classy.

Also, I had a nice chat with Ernie Hudson, from Joe Turner's Come and Gone (and Ghost Busters!) about how exciting it was to have President and Mrs. Obama at the Belasco Theatre the previous week. It's too bad security concerns prevented the cast from meeting the first couple. Wouldn't it be great if someone connected with the Lincoln Center Theater who has some pull could wrangle an invitation to the White House?

While I was waiting for the final cast member to come out and sign my Playbill (soon-to-be Tony winner Roger Robinson!) I noticed a little handmade sign taped to the wrought-iron gate leading to the Belasco stage door christening it "The President Obama Entrance."

Let's hope The Shubert Organization, which owns the Belasco, makes it permanent with a plaque commemorating the visit of the nation's first African-American president. What a wonderful counterpoint to the entrance on the other side of the main doors, which black theatergoers were once forced to use to get to their seats in the segregated balcony.

My Broadway debut - one year later

Tonight marks the first anniversary of my first Broadway play - A Moon for the Misbegotten, and tomorrow, my first Broadway musical, Curtains. One year ago this evening, at the tender age of 47, I stepped inside a Broadway theater for the very first time in my life and was immediately hooked. It's never too late to make your debut on the Great White Way, is it?

While it was a chance to see Kevin Spacey's performance in Moon that lured me to New York initially, I've been back three times since April 2007, and I've seen a total of 21 different shows (Moon twice). And while I have my favorites, I can honestly say that I've enjoyed at least a little something about each and every one of them. Going to the theatre in New York City is still a pretty big thrill for me. I'm very envious of people who live there and can go all the time. I just wish I had a chance to see more off-Broadway shows, too.

I've now been inside 18 of the 39 Broadway theatres. There are some I like - the cozy, intimate orchestra section of the Belasco, for example. There are others I'm not crazy about - I felt sooo far away sitting in the rear of the Hilton's orchestra. The narrow, rectangular-shaped lobby of the Richard Rodgers made me feel absolutely claustrophobic. I'm hoping to get to all of them eventually, and if it comes down to the final one, I'll swallow hard, bite the bullet and go see The Phantom of the Opera at the Majestic, because that show most likely isn't going anywhere in my lifetime.

This week, I got a comment on a post I wrote awhile ago about going to the stage door after a show to get my Playbill signed. The person who wrote has never been to a Broadway show, but is planning to go see Equus with Daniel Radcliffe, and wanted some advice. Imagine, someone asking me for advice. Can you believe it?

So, to mark the first anniversary of my first Broadway show, and in a shameless attempt to pump up the hits to my blog, (weekends can be slow, you know) here are some words of wisdom to another novice theatergoer.

Before I start, just in case there's one person left on the planet who doesn't realize it, Equus is not a play for young children. It's about a psychiatrist treating a young man who has an unhealthy fascination with horses. Nudity and adult themes are most definitely involved. You'll be seeing a side of Daniel Radcliffe you've never seen in the Harry Potter movies. (I'm not talking just about his acting.)

So forewarned is forewarned. Now, you want to get outside as quickly as possible after the show ends to claim a good spot. (My advice is to make a quick trip to the bathroom, because you might be there for awhile). I'm not sure where the stage door is at the Broadhurst Theatre, but you can ask an usher. With Radcliffe's fame, there'll be metal barricades set up, and a mob scene. You won't have any trouble finding it!

We don't know yet what color the Playbill will be, but I would recommend two different-color Sharpies (available at most drugstores), one black and one a lighter color, like red or silver. You can also check back at the Playbill Web site after the show opens to see what the cover looks like, so you'll have a better idea of which color will show up best.

Now this is important. If you're there alone, make friends with someone standing next to you, so you can trade cameras and hopefully each get a picture of yourself with Daniel Radcliffe. With the number of people, it'll probably be close to impossible. My guess is he'll be quickly signing his name and moving on. But you should be prepared just in case the opportunity arises. (And I wouldn't bother lugging your 800-page Harry Potter book to the theatre, chances are he'll only sign Playbills).

In my experience, the star of the show usually comes out last. Perhaps it's done for dramatic effect, or because he or she has so many important visitors backstage. I don't know. So you could be waiting a half hour or more. (You'll have plenty of company). But don't despair and don't leave until it's obvious that he's not coming out. There'll most likely be security people around to let you know if he's not going to make an appearance.

While there are no guarantees that he'll come out the stage door and sign autographs, I have a feeling Daniel Radcliffe will be pretty accommodating. Once you get your signature, etiquette dictates that you move to the back and give someone else a chance. Be persistent, hold your ground and don't be shy. I hope you have as wonderful and memorable an experience as I did, one that turns you into a lifelong theatre fan. Now go out there and break a leg.

No ghosts in sight

Ok, last night was Passing Strange at the Belasco. I liked it a lot but I didn't love it quite as much as my fellow bloggers.

First of all, it's really, really loud at times. I hate to sound like an old fart, but it's been a long time since I've listened to music quite that loud. And I don't know, maybe it was just a little too minimalist for me. Maybe I just like my musicals more traditional, with big dance numbers, elaborate sets and catchy pop tunes.

But Daniel Breaker as Youth, whose journey through life we follow, is amazing. He made me realize how much an actor can do without words - his expressions, the way he carries himself, the way he slouches in a chair. It's worth the price of admission to see him leap across the stage in imitation of a big Broadway dance number. (I'm still smiling about that). In fact, everyone in the cast is wonderful.

And there's a lot of really witty dialogue - about race, about art, about politics. At a time when an African-American is waging a campaign for the Democratic presidential nomination, Passing Strange seems to have extra relevance and urgency.

I have to think about it some more, and I'll be writing a review. Passing Strange certainly gives you a lot to think about afterward.

On the way to the Belasco, I did one of my favorite things to do in Times Square - take pictures of theatre marquees. I've never passed a marquee - or a giant poster on a building - that I didn't want to stop and photograph. Call me tourist - I don't mind.

Tonight, it's the salsa and hip-hop infused Latino musical In the Heights. I think it says something great about the theatre that on successive nights, I'm seeing musicals featuring a young African-American man and a young Latino man telling their own stories.

And no ghosts at the Belasco, I'm sorry to report.