The Pitmen Painters

The Pitmen Painters, at Broadway's Friedman Theatre
Gratuitous Violins rating: ** out of ****

I was so looking forward to The Pitmen Painters, a play by Lee Hall based on the story of British miners in the 1930s who discover that they have a talent for art.

Hall wrote about miners in Billy Elliot, which I enjoyed. Plus, I have friends in northern England, so I'm familiar with the area and the accents. I even went down in a mine once, in Yorkshire. And did I mention that How Green Was My Valley is one of my favorite novels?

Well despite a fine cast, The Pitmen Painters left me kind of cold. There were too many moments where I was a bit bored, too much speechifying about art and politics and too little emotion. I wanted more insight into who these men were and what they loved about painting.

When the play begins, the miners' education association has hired an instructor, Robert Lyon, played by Ian Kelly, to teach them art appreciation. It soon becomes clear that most have never even seen a painting before. (Not all are miners - there's a dentist's assistant and a young man on the dole).

The interaction between Lyon and the men is funny and I did laugh. At the same time, I felt a little uncomfortable because I thought Hall based the humor on the miners' lack of sophistication. It's not their fault that they had to leave school at age 10 to help support their families.

Lyon decides that rather than have his students sit passively while he lectures, they really need to learn by doing - and after all, doesn't art belong to everyone, even the working class? So he encourages them to start painting.

Maybe Hall has compressed things, maybe there were other lessons in between. Because the miners progress from never having seen a painting to creating these terrific works of art. It's like there's no intermediate step.

Eventually, the men attract the attention of the affluent Helen Sutherland, played by Phillippa Wilson, and their work is exhibited. (In real life they were known as The Ashington Group.) Hall uses their growing fame to explore some interesting issues, like the fickle relationship between artists and patrons and the miners' reaction to this very different world.

As Oliver Kilbourn, the miner about whom we learn the most, Christopher Connel is very appealing and sympathetic. I thought the parts of the play where he talked about his life, how he came to work in the mines at a very young age, were among the most compelling.

Overall, though, I think the play got bogged down in discussions about what is art and who creates it and what does it all mean to the point where it started to feel like an academic exercise. I never felt the joy of painting like I did the joy of dance in Billy Elliot. There's not much passion in The Pitmen Painters.

One thing I did enjoy - in the end, a piece of artwork is created from scratch. The concrete act of watching someone draw a picture made for more enthralling theatre than some of the abstract discussions during the previous 2 1/2 hours.

Goodbye to my Broadway Billy

Today is 15-year-old Trent Kowalik's final performance in Billy Elliot on Broadway and it's something of a milestone.

Trent was in the London cast and the Long Island native came to New York when the musical opened in 2008. He's the last of the three original, Tony-winning Broadway Billys still with the show and most importantly, he's the one I saw in the role.

What's stayed with me the most about Trent is, no surprise, his terrific dancing. Watching him tapping and leaping and pirouetting across the stage I remember thinking, "I hope he stays in musical theatre because I'd love to see him perform as an adult."

And as this video shows in addition to being incredibly talented, he's also a well-spoken, considerate young man. I wish him and his fellow Tony winners David Alvarez and Kiril Kulish all the best. I wish I could have seen them all.

As for Billy Elliot, the story of a motherless boy in a coal-mining town in Margaret Thatcher's England has become quite the worldwide juggernaut.

The musical opens this month in Chicago and the 2010 U.S. tour kicks off Nov. 2 at the Durham Performing Arts Center in North Carolina. An Australian run wrapped up last year. Productions are planned in South Korea, Japan, Germany and the Netherlands.

I loved the 2000 movie Billy Elliot and a great deal of the poignancy has been transferred to the stage. It's a bittersweet story about a boy discovering his passion in life and the rocky relationship with his father. It's also about a community under great stress coming together.

But as I said in my review, what truly stood out for me was Peter Darling's Tony-winning choreography. Billy Elliot the musical is a tribute to the joy of movement, to the artistry and exuberance and sheer athleticism of dance.

Billy Elliot has plenty of scenery to chew

Interesting article in The New York Times this morning about Broadway productions eschewing lavish sets to save money. But in my opinion, one of the examples that Patrick Healy uses is a little misleading.

Healy mentions the "spartan kitchen" in Billy Elliot, designed by Ian MacNeil. He says the Tony-winning musical "which recouped its $18 million capitalization in 14 months, takes place largely in a community center dance hall, and some of the most critically praised dance scenes involve no more than a chair or an empty stage."

Well it's true that at one point, Billy does use a chair as a prop. But that's hardly all that's happening on stage. For example, the rigging that allows him to "fly" with the aid of an adult male dancer must be pretty complex and expensive.

And the "spartan kitchen" that Healy mentions is built around a mechanical set that's raised and lowered from the Imperial Theatre stage. I believe it required blasting through the floor of the theatre to install, which could not have been cheap. (Unfortunately, I couldn't find a picture.)

Now I'm the first one to admit that I like scenery that gives me something on which to chew. James Schuette's rundown shop in Superior Donuts and John Lee Beatty's opulent Manhattan apartment for The Royal Family were terrific. I also liked David Gallo's basement nightclub in the musical Memphis.

But the scenery isn't always what leaves a lasting impression. Really, it depends on the show.

Healy mentions that the set design by Scott Pask for the current Broadway revival of Hair is somewhat sparse. Between listening to music that I love and watching the hippies run around the theatre interacting with the audience, I hardly thought about the set. Or lack thereof.

Words of wisdom from Carole and Oskar

I've been trying to catch up on my Playbill Radio podcasts. There are a lot I haven't listened to yet and at this point, some of the shows have opened and closed already. But these two are going strong:

I liked this quote from Carole Shelley, who plays the grandmother in Billy Elliot, as she politely declines to describe a particular scene in the musical:

"I don't really want to spoil it because I think it is one of the most stunningly choreographed pieces I have ever a., seen in my life and b., been a part of. So I would rather not say anything about it, if that's all right with you. I think surprises are the most exciting part of going to the theater."

You're right, Ms. Shelley, and I'm trying to be less spoilerish in my reviews! I know I do way too much research before I go to a show. (What can I say - I'm an information junkie. I was the type of kid who loved doing term papers.) Most of the time, knowing less is better.

Oskar Eustis, the artistic director of the Public Theater, does engage in a little hyperbole here, but I think he makes a good point about Hair's place in American popular culture. Part of the reason, of course, is that entertainment has become more diffuse. I mean, do we even have a common pop culture anymore?

"Hair is on the one hand, one could make the case it's the classic American musical. It was the last American stage show that became the soundtrack for a generation. There's been no show on stage since Hair that actually the whole country knows. Phantom of the Opera? I don't think so."

Okay, Phantom's an easy target but I bet the Public and Mr. Eustis would be happy to have Hair run on Broadway for 21 years - and counting!

My thoughts on the 2009 Tonys

Last year, when it was just me, myself and I on the couch, I had plenty of observations about the Tony Awards. This year, I don't actually have many observations because I was very busy having fun making my debut at the annual Tony party hosted by Sarah.

It was so great being with friends, fellow theatre fans and fellow bloggers in a swanky Regency suite. We kept the conversation and the bubbly flowing. We feasting on pizza, cucumber sandwiches, cupcakes and Rice Krispy bars, among other treats. (While Kevin kept us all up to date on the Tweets.)

Plus, I was trying to keep up with my first-ever Tony drinking game. In my case, that involved taking a sip of champagne whenever Angela Lansbury appeared on the big-screen tv, which was a lot. I think I did pretty well!

Here's a list of the 2009 Tony winners. Now, a few of the thoughts that did enter my mind in between sips of champagne:

How wonderful to see Angela Lansbury take her fifth award, for Best Featured Actress in a Play, tying her with Julie Harris for the most-ever wins. I'm excited about seeing Blithe Spirit next month, as well as all three parts of The Norman Conquests, winner for Best Revival of a Play.

And even though I was rooting for Will Swenson - because I was rooting for Hair for everything - I was happy that Gregory Jbara won Best Featured Actor in a Musical for Billy Elliot. As Billy's dad, his attitude toward his son evolves in such a moving way over the course of the musical.

I was less happy that Kiril Kulish, Trent Kowalik and David Alvarez won Best Actor in a Musical for Billy Elliot. Yes, the three actors who share the role of Billy are amazing dancers and they're adorable. But I don't think they're as compelling actors as they are dancers and they don't perform eight times a week. It's almost like the voters gave the award to the character.

But I was thrilled that Roger Robinson won for Best Featured Actor in a Play for portraying the mystical root worker Bynum Walker in Joe Turner's Come and Gone. I saw the play the evening before the Tonys and I loved it. What compelling characters and storytelling. (Watch for my review soon.)

Geoffrey Rush clearly deserved the award for Best Actor in a Play for Exit the King. He gave a performance that alternated between brilliantly comic and incredibly poignant. But I loved all of the nominated performances I saw in that category, as I did in so many other categories. And I wish there could have been more than one winner.

Loved host Neil Patrick Harris and his black leather suit and his 11 o'clock number. (Which I think was at 11:03.) Wish there were more of him on the show.

Liked it when award-winners remembered to thank spouses, significant others and children as well as agents, lawyers and managers.

Thought the Angry Dance didn't really show off Billy Elliot all that well. Although I guess the winner for Best Musical didn't really need the Tonys to boost sales.

The one performance that made me want to see the show is the one that I've already seen and loved - Hair, winner of Best Revival of a Musical. Which leads me to believe that performances on the Tonys don't win converts but merely confirm opinions you already hold. At least in my case.

My Tony picks - the musicals

I haven't seen many of the new musicals and revivals that opened this season on Broadway, including 9 to 5, Next to Normal and West Side Story. And I never made it to [title of show] or White Christmas. So these aren't exactly the most knowledgeable picks but they are some of my favorite musical performances of the year.

Best Musical
*Billy Elliot, The Musical
Next to Normal
Rock of Ages
Shrek The Musical

Of the three nominated musicals I saw, Billy Elliot is simply the one that touched me the most, that I thought was the most captivating and thrilling to watch. It has memorable characters and dramatic tension and moments of poignancy and humor and makes the story of striking British coal miners seem universal.

Best Book of a Musical
*Billy Elliot, The Musical - Lee Hall
Next to Normal - Brian Yorkey
Shrek The Musical - David Lindsay-Abaire
[title of Show] - Hunter Bell

Lee Hall wrote the original screenplay for the 2000 movie Billy Elliot and then adapted it for the stage. And it's a great story - about a young boy discovering a talent and how, in a time of great stress, a community rallies around him.

Best Original Score (Music and/or Lyrics) Written for the Theatre
*Billy Elliot, The Musical - Music: Elton John; Lyrics: Lee Hall
Next to Normal - Music: Tom Kitt; Lyrics: Brian Yorkey
9 to 5: The Musical - Music & Lyrics: Dolly Parton
Shrek The Musical - Music: Jeanine Tesori; Lyrics: David Lindsay-Abaire

This is Billy Elliot versus Shrek for me, since I haven't seen the other two. I didn't exactly leave the theatre humming the songs from either one. But I think Billy Elliot's score works well in the context of the story.

Best Revival of a Musical
Guys and Dolls
*Hair
Pal Joey
West Side Story

Okay, Pal Joey and Hair were the only ones I saw in this category. Hair is a 40-year-old show, tied to a particular time in American history. But instead of coming off like a relic, it seems so fresh and vibrant and thought-provoking. Unlike so many recent musicals, the songs are catchy and memorable. And I never get tired of listening to them.

Best Performance by a Leading Actor in a Musical
David Alvarez, Trent Kowalik, and Kiril Kulish ‚ Billy Elliot, The Musical
*Gavin Creel, Hair
Brian d'Arcy James, Shrek The Musical
Constantine Maroulis, Rock of Ages
J. Robert Spencer, Next to Normal

Here's where I get off the Billy Elliot bandwagon. I saw Trent Kowalik as Billy and he was a great dancer. But his performance as an actor didn't move me as much as Gavin Creel's in Hair. Creel just made me feel the conflict that his character was going through. He's also an adult and a more accomplished actor so it's not a fair comparison. But he gets my imaginary vote.

Best Performance by a Featured Actor in a Musical
David Bologna, Billy Elliot, The Musical
Gregory Jbara, Billy Elliot, The Musical
Marc Kudisch, 9 to 5: The Musical
Christopher Sieber, Shrek The Musical
*Will Swenson, Hair

I thought Christopher Sieber and Gregory Jbara were both great and I'd be happy to see either of them win. But Will Swenson as Berger, the leader of the hippie tribe, was so charismatic and fun to watch in a role that requires a lot of physical stamina.

Best Performance by a Featured Actress in a Musical
Jennifer Damiano, Next to Normal
*Haydn Gwynne, Billy Elliot, The Musical
Karen Olivo, West Side Story
Martha Plimpton, Pal Joey
Carole Shelley, Billy Elliot, The Musical

I liked Martha Plimpton and Carole Shelley but I absolutely adored Haydn Gwynne as Mrs. Wilkinson. She was so hilarious and unforgettable as the demanding teacher who becomes Billy's champion. I even thought the musical lost a bit of its spark when she was offstage.

Best Scenic Design of a Musical
Robert Brill, Guys and Dolls
Ian MacNeil, Billy Elliot, The Musical
*Scott Pask, Pal Joey
Mark Wendland, Next to Normal

Ian MacNeil has designed a great set for Billy Elliot - it rises like a corkscrew from the Imperial Theatre stage and reminds me a bit of the game Mousetrap. But I really liked the way Scott Pask's dark set for Pal Joey evokes a seedy 1930s nightclub in Chicago. It helps sets the mood of the show and fits well with this rather dark story.

Best Costume Design of a Musical
Gregory Gale, Rock of Ages
Nicky Gillibrand, Billy Elliot, The Musical
*Tim Hatley, Shrek The Musical
Michael McDonald, Hair

For me, one of the best things about Shrek were the costumes. They made me smile for the way they evoked a classic children's storybook come to life.

Best Direction of a Musical
Stephen Daldry, Billy Elliot, The Musical
Michael Greif, Next to Normal
Kristin Hanggi, Rock of Ages
*Diane Paulus, Hair

I think Stephen Daldry, who also directed the movie, does a good job with Billy Elliot. But the choices Diane Paulus makes in Hair are a big part of the reason why it's so alive, so relevant. It evokes the spirit of the 1960s in a fun way but never lets the audience forget some of the sadder and more brutal events of that tumultuous decade.

Best Choreography
Karole Armitage, Hair
Andy Blankenbuehler, 9 to 5: The Musical
*Peter Darling, Billy Elliot, The Musical
Randy Skinner, Irving Berlin's White Christmas

I loved the choreography in Hair and I'd be thrilled to see Armitage win. But Billy Elliot above all is a wonderful testament to the absolute joy of movement, to the artistry and exuberance and sheer athleticism of dance. It's the dancing I remember more than the score, so Peter Darling gets my vote.

12 Movies Meme

Okay, Vance from Tapeworthy has tagged me to program a movie theatre for 6 nights, with two movies a night. Here are the rules:

1) Choose 12 films to be featured. They could be random selections or part of a greater theme. Whatever you want.
2) Explain why you chose the films.
3) Link back to Lazy Eye Theatre so I can have hundreds of links and I can take those links and spread them all out on the bed and then roll around in them. (I'm not sure what that last part means but a rule's a rule.)

These aren't my 12 all-time favorite films, although a couple of them do make an appearance. And some of my favorite genres, like documentaries, aren't represented at all. But since I always did pretty well on term papers, I decided to go with a theme of compare and contrast. I picked movies that I thought would be interesting to see back to back.

I'm tagging:
The Singleman Party
Theatre Aficionado at Large
Stage Left, House Right
I Can't, I Have Rehearsal
And anyone else who'd like to play along!

Day 1: A cinematic feast - What's Cooking and Alice's Restaurant
Sure, "Thanksgiving movie" doesn't have quite the same ring as "Christmas movie" but it can still serve up a filling cinematic feast. In 2000's What's Cooking, director Gurinder Chadha follows four Los Angeles families - Jewish, Latino, African-American and Vietnamese - as they make preparations for the big holiday meal. They cook, they eat, they squabble. It's a sweet little movie about the foods we love and the ties that bind. I'll admit that Arthur Penn's 1969 film Alice's Restaurant is dated, with its focus on the draft and the counterculture. But Arlo Guthrie is terrific in this adaptation of his song about a Thanksgiving with friends that goes awry.

Day 2: The sincerest form of flattery - The Pursuit of Happyness and The Bicycle Thief
Not every director would have been handed the script of The Pursuit of Happyness and thought, The Bicycle Thief. But Gabriele Muccino clearly and lovingly constructed this 2006 movie starring Will Smith as an homage to Vittorio De Sica's classic 1948 Italian neorealist drama. Some of the scenes are identical, with Smith and his son trudging around the streets of San Francisco in a way that evokes the journey of the Italian father and son in postwar Rome. Both movies are about the struggles of a man in very meager circumstances to provide a better life for his family. Both will tug at your heartstrings as they poignantly and powerfully demonstrate the bond between parent and child.

Day 3: From screen to stage and back - Hairspray and Hairspray
I always liked John Waters' 1988 cult classic Hairspray, about attempts to integrate a Baltimore teen dance show in the early 1960s but I loved it once the story became a musical. For me, this is a screen to stage adaptation that works. Maybe it's not quite as quirky and subversive, maybe it's a little more mainstream, but on stage, with some songs and dance numbers, Hairspray becomes a joyous, energetic celebration. It's still about being true to yourself, a testament to the power of individuals to affect change. I'm very happy that in 2007, Hairspray made the transition back to the movies, this time as a musical.

Day 4: The joy of movement - Billy Elliot and Swan Lake
I love those small British movies about a community banding together in the face of adversity. Billy Elliot, released in 2000 and directed by Stephen Daldry, is set against the backdrop of a miners' strike, so it fits the bill perfectly. And since it's the story of a boy, played by Jamie Bell, who realizes that he loves to dance, what better to pair it with than a ballet? I'm not sure Matthew Bourne's Swan Lake ever made it to movie screens but since you can watch it on a 1996 dvd, that's close enough. I know that traditionally, the swans are portrayed by ballerinas. I'll take Bourne's handsome and agile male swans any day.

Day 5: Leading men - Casablanca and Annie Hall
I would have to say that Annie Hall from 1977, and Casablanca, from 1942, are my two all-time favorite movies. So many memorable scenes, so much quotable dialogue. Sure, it doesn't seem as though Humphrey Bogart's smooth and confident cafe owner Rick Blaine, in World War II Morocco, has much in common with Woody Allen's fumbling and insecure late 20th-century New Yorker Alvy Singer. But both movies are about a man and a woman from very different backgrounds coming together, and the difficulties that arise from those relationships. And in their own way, Bogie and Woody are the perfect leading men for their times.

Day 6: New York, New York - On the Town and Midnight Cowboy
Could there be two more diametrically opposite views of New York City than the ones presented in these two films? On the Town, from 1949, is a lighthearted musical about a trio of sailors (Gene Kelly, Frank Sinatra and Jules Munshin) who do some sightseeing and search for romance during a 24-hour shore leave in Manhattan. John Schlesinger's Midnight Cowboy, on the other hand, from 1969, is a New York City filled with danger and squalor and places where no tourists venture. We've got Jon Voight and an amazing Dustin Hoffman as two hustlers who become unlikely buddies. Where does the truth lie? Probably someplace in between.

I want more British coal miners on stage

I like the way Natasha Tripney, who blogs at Interval Drinks, writes about her favorite theatre moments of 2008 for The Guardian. She calls them "a non-linear clutter of the images that have left an impression on me in this 12-month window." What a terrific description!

I also decided to write about some of my favorite moments spent in the theatre in 2008, rather than assemble a list of my favorite shows. And this year, we have one in common - Black Watch - although she chooses a different moment from the play to highlight than I did. (But that's understandable because there are so many great ones.)

But what really caught my eye was a moment she mentions from another play that I'd love to see if it comes to New York: The Pitmen Painters, by Lee Hall, who wrote Billy Elliot. (It also made New Yorker theatre critic John Lahr's list of the top ten plays of 2008.)

The play is currently running at London's National Theatre, and here's a description from the Web site:

"In 1934, a group of Ashington miners hired a professor to teach an art appreciation evening class. Rapidly abandoning theory in favour of practice, the pitmen began to paint."

It sounds really interesting. I'm not sure how it would do with American audiences and I don't know if there are any plans for a Broadway transfer. But I'm hoping that Billy Elliot will whet the appetites of theatergoers for some more drama involving British coal miners, this time of the non-singing and non-dancing variety.

Countdown to the Tonys

I know the weather outside was frightful earlier this week and June seems awfully far away. But we're halfway through the 2008-2009 Broadway season and the Tony Awards will be here before you know it. Based on the shows I saw in November, here are my nominations so far. What's great about my favorite performances is that I was seeing these actors on stage for the very first time.

Best Musical, Billy Elliot
I've seen three new musicals, Billy Elliot, Shrek and 13. So far, Billy Elliot gets my vote. It tells the story of a boy in a Northern England mining town with such heart and imagination and memorable characters. Plus, the dance numbers are amazing. But I really enjoyed 13 and I hope Jason Robert Brown gets a nomination for his energetic rock 'n' roll score. I'm also looking forward to 9 to 5 in the spring and I'm really sorry I missed [title of show].

Gregory Jbara, Billy Elliot
I loved Gregory Jbara as Billy's dad, a hardened, gruff man who can't imagine a life for his son that doesn't involve learning to box and going to work in the coal mines someday. Just the way he goes from being totally opposed to his son's desire to dance, to being totally sympathetic and supportive, is wonderful to watch. Jbara handles the transformation so well.

Haydn Gwynne, Billy Elliot
As Mrs. Wikinson, the no-nonsense dance teacher who takes Billy under her wing, Haydn Gwynne is hilarious and unforgettable. She really becomes the boy's champion and I love how tough she is in confronting his father. Except for the moments when Billy is dancing, Gwynne comes close to stealing the show for me.

Christopher Sieber, Shrek
As the ruthless and vertically challenged Lord Farquaad, Christopher Sieber was one of my favorite things about Shrek. He was very witty and hammed it up a bit without going over the top. I just felt like the musical had more of a spark and became more interesting when he was on stage.

Martha Plimpton, Pal Joey
Martha Plimpton was terrific in Pal Joey as chorus girl Gladys Bumps, who's been wronged by nightclub owner Joey Evans and schemes to get her revenge on him. She has a great comic touch and I especially loved what she does with the song "Zip."

Choreography, Billy Elliot
Peter Darling's choreography has made this musical such a tribute to the absolute joy of movement, the artistry and exuberance and sheer athleticism of dance. I loved all the tutu-clad little ballerinas and watching Billy transformed from awkwardness to grace. While Billy Elliot was my favorite, I hope Christopher Gattelli gets a nomination for 13. I really enjoyed his exuberant choreography, especially in the opening number, "13/Becoming a Man."

Costume design, Pal Joey
What impressed me about William Ivey Long's costumes for Pal Joey is the way they really help define each of the main characters - the smooth-talking ladies man Joey, looking very suave in his tuxedo; Gladys, the showgirl, looking cheap and flashy; Vera, the sophisticated, socialite in glamorous gowns and tailored suits; and Linda, the sweet and innocent shopgirl, in modest skirts and blouses.

Set design, Pal Joey
I loved the look of Scott Pask's sets for Pal Joey - the elevated train track in the background, the winding wrought-iron staircase leading down to this seedy, out-of-the-way nightclub in 1930s Chicago. Even when the action shifts to a luxury apartment or a clothes shop, Pask's set design retains its dark, somber tone, which is so in keeping with the tone of this musical.

Raul Esparza, Speed-the-Plow
For me, Raul Esparza's turn as Hollywood producer Charlie Fox was the best thing about Speed-the-Plow, especially watching him in the climactic third scene. It's a point when his livelihood, everything he's tried to achieve in the business, is at stake, and he delivers an amazing performance. His character's disintegration, desperation, truly was thrilling to watch.

Daniel Radcliffe, Equus
I didn't know what to expect from Daniel Radcliffe in Equus, but I came away being impressed by his performance as Alan Strang, a young man who inexplicably blinds six horses. Radcliffe does such a terrific job portraying this troubled soul - from his initial clipped, nonsensical dialog to his trembling under a blanket at the end of the play, after all his defenses have been stripped away.

Anna Camp, Equus
I thought Anna Camp nailed the role of Jill Mason, the more worldly girl who gets Strang a part-time job at the stable where she works, and lures him into a sexual situation. I don't think she means to hurt Strang but she's clearly leading him into something that he's not ready to handle. She's his total opposite - talkative and perky and confident. I love the way she carries herself - her blond ponytail bobbing. Camp is so effective in the role.

Hallie Foote, Dividing the Estate I laughed all the way through Dividing the Estate and I hope several cast members get nominations. But I especially loved Hallie Foote's performance as a daughter desperate to get her hands on her inheritance to ease her own family's financial crisis. She was so great to watch - sharp-tongued, covetous - and had a way of delivering the most outrageous lines with such perfect seriousness. What a hoot. I'd never heard of Hallie Foote before. What a wonderful discovery.

My Broadway year - the downs

Now that I've praised some of the amazing moments I saw on Broadway this year, I want to take a moment to mention some things that bothered me, as well as one disappointment.

• I've written before about the couple sitting behind me at Billy Elliot who were talking so loudly when the musical began that I had to turn around and glare at them as I asked them to be quiet. It was the same thing at Shrek, the people sitting next to me were talking and unwrapping candy. Is it me or is the talking and eating during shows getting worse? It makes me a little wary of seeing the musical Rock of Ages, since Variety reports that there'll be in-seat cocktail service during the show when it moves from off-Broadway to the Brooks Atkinson Theatre. Maybe it fits with the story, which I guess partly takes place in a nightclub, and it'll be done in a way that won't bother non-drinking theatergoers, but I don't know.
  

• I've decided that there are simply some things I don't particularly want to see or hear on stage - the farting and belching competition in Shrek may have worked in the movie but in a Broadway musical I just didn't care for it. And the urinating porter in Macbeth was one special effect I definitely could have done without. This poses a bit of a dilemma. I really want to see Yasmina Reza's play God of Carnage on Broadway in the spring. (Although it'll have a different cast than the London production. Sadly, no Ralph Fiennes.) But I know there's a particular bodily function in the play which I'm not too eager to experience. Still, the Broadway cast reportedly includes James Gandolfini, and for a chance to see Tony Soprano, I'll steel myself.
  

• Speaking of Macbeth, I've mentioned a few times before that I'm pretty squeamish and I knew last spring's production was a particularly bloody one. I was looking forward to seeing Patrick Stewart on Broadway but I got a little nervous when Ben Brantley compared the horror level to a Wes Craven movie in his New York Times review. Now, I've never actually seen a Wes Craven movie but it sounded ominous. Well let me tell you, it was quite a letdown. I didn't feel squeamish at all. I only took my glasses off briefly and I didn't once have to put my head between my knees to ward off fainting. Don't get me wrong, what I saw was plenty, but given the buildup, I was prepared for more blood, more guts. Thanks Ben, for getting me all worked up for nothing!
  

Some memorable moments from 2008

It's hard for me to pick my favorite shows of the year because truly, I loved almost everything - just some more than others. These are some of the songs, choreography, scenes and characters that amazed me, made me laugh or cry or simply made me think a little bit harder about the world this year. There were probably another dozen I could have picked, too.

One of the things that struck me as I looked over the list of plays and musicals I saw in 2008 was how many of them dealt with adolescents struggling to find their place in a world that's not always very accepting.

Some have done things that their parents simply can't understand. Others dream of a life that their parents simply can't imagine. They want desperately to fit in with their classmates, to live up to the expectations that their families have of them. But they also want to be true to themselves. While they're not all on this list, to some extent all of their stories resonated with me. Maybe it has something to do with the power of theatre, but I felt for them all.

1.) For thrilling spectacle, it's hard to beat the opening minutes of Disney's musical The Lion King. Once a pair of giraffes ambled across the stage followed by a parade of animals up the aisles of the theatre in the opening number, "Circle of Life," I was hooked. My jaw dropped in amazement and my inner child was activated. Director (and designer) Julie Taymor uses elaborate costumes, masks, puppets and video projection to create a show that's so visually rich and vivid. I'm not a big fan of comic book stories but knowing that Taymor (and Bono!) are two of the creative forces behind the new Spider-Man musical definitely makes me interested.

2.) Black Watch brought home the experiences of a Scottish regiment in Iraq in such an imaginative, visceral way. Soldiers silently act out reading letters from home; one member of the unit relates the history of the Black Watch as he's being dressed, undressed and turned every which way with military precision. At one point near the end of the play I closed my eyes and winced in anticipation of a bone being broken. It was a moment of potential violence that was unexpected and it seemed so real.

3.) I had the pleasure of seeing Harvey Fierstein on stage twice this year - in A Catered Affair and last month, reprising his Tony-winning role as Edna Turnblad in Hairspray. When Harvey sings "Coney Island" at the end of A Catered Affair, suitcase in hand, ready to start a new phase in his life, it was so touching. And in Hairspray, I had a chance to see Harvey's wonderful comic timing. I just have to smile whenever I think of him jumping on the hot dog cart in "Welcome to the Sixties" or the hilarious duet with Wilbur Turnblad in "You're Timeless to Me." They were priceless moments.


4.) Brooks Ashmanskas is an adorable, teddy bear of a man. I loved him and Kate Baldwin as feuding coworkers who don't realize they're pen pals in She Loves Me at Boston's Huntington Theatre Company. What a sweet, wonderful little musical. Baldwin has a great comic touch in "Vanilla Ice Cream" and I got choked up when she sang "Dear Friend," while waiting in a cafe to meet her pen pal. But I think my favorite moment was watching Ashmanskas, a truly expressive, physical actor, dance his way across a bare stage bathed in blue light while performing the title song.

5.) I remember as a kid watching Rodgers and Hammerstein musicals when they came on television - Oklahoma! and The King and I and above all, Cinderella with Lesley Ann Warren. But until I saw the revival of South Pacific at Lincoln Center this spring, I had never seen a Rodgers and Hammerstein musical on stage. From the opening strains of the overture, when the stage slid back to reveal a 30-piece orchestra, I was captivated by this production. There were many great moments with Kelli O'Hara, Paulo Szot and Matthew Morrison as the leads. I especially loved the lively staging of "I'm Gonna Wash That Man Right Out of My Hair." But really, it was all great.

6.) Seeing Patti LuPone as Mamma Rose in Gypsy was on my list of top theatrical moments of 2007. When the musical moved from the City Center Encores! series to Broadway, I saw Gypsy again. And once again, it makes my list of top theatre moments. This time, I want to mention Laura Benanti's performance. The moment when we first see Benanti transformed from gawky, plain-Jane adolescent Louise to glamorous, confident stripper Gypsy Rose Lee was stunning. Her hair is different, her clothes are obviously different, even her personality seems different. I could hardly believe she was the same person. Really, the brilliance of her Tony-winning performance just blew me away.

7.) I've written numerous times about my admiration for Daniel Breaker's performance in Passing Strange, especially the moment when he leaps across the stage in imitation of a big Broadway dance number. There's another scene that's stayed with me, too. When Breaker's character, Youth, is living in Berlin, he's made friends with a group of left-wing artists and activists. He fully expects that one of them will invite him home for Christmas. But they're not too keen about bringing a young black man to their small towns to meet the family. It's a painful moment when Youth realizes that there are limits to acceptance and friendship.

8.) I really enjoyed In the Heights, winner of the 2008 Tony for Best Musical. Lin-Manuel Miranda was great as bodega owner Usnavi, rapping his way through the opening number, featuring Andy Blankenbuehler's awesome choreography. But Mandy Gonzalez really won my heart as college student Nina, whose story is at the center of In the Heights. She returns to her Washington Heights neighborhood in New York City from Stanford feeling like a failure. I think her voice is beautiful and she's heartbreaking in "Breathe," when she sings about her guilt at having let down her family and her community.

9.) I though Laurence Fishburne was mesmerizing in Thurgood, as he took us through the life of Thurgood Marshall, the first African-American to serve on the Supreme Court. This was my first time seeing a one-person show on stage. Fishburne is a great storyteller as he goes through the details of Marshall's life and the fight to end school segregation in this county, culminating in the Supreme Court decision in Brown v. Board of Education. For me, he was such a commanding presence. I was in the third row, on the aisle, so when he sat down in a chair on stage at one point, he was literally right in front of me. I didn't dare take my eyes off of him - he was looking right at me, or at least that's what it felt like.

10.) The more I think about it, the more I like 13, Jason Robert Brown's musical about Evan Goldman, a Jewish kid who moves from New York City to Indiana after his parents get divorced. He's trying frantically to get the cool kids in his new school to come to his bar mitzvah. I loved the energetic young cast and the choreography and the rock 'n' roll score. At the end of the musical, in a very nice scene, we see Evan, played by Graham Phillips, during his bar mitzvah, a yarmulke on his head and a prayer shawl draped around his shoulders, chanting in Hebrew. The show could have left that moment out, soft-pedaled the religious angle, but it didn't - to its credit.

11.) Just about any moment that involves dancing in the musical Billy Elliot is memorable. I loved the dream ballet between Billy, played by Trent Kowalik at the performance I saw, and an adult dancer, played by Stephen Hanna. I loved seeing Billy in the middle of all those tutu-clad little girls in "Shine" and the big scrum of kids, miners and police in "Solidarity." I loved a very tender and bittersweet embrace between Billy and his father, played by Gregory Jbara. And any moment with Haydn Gwynne, who plays Billy's dance teacher, Mrs. Wilkinson, is wonderful. But the scene where Billy reads a letter from his dead mother is heartbreaking. Listening to it on the cast recording, I'm in tears.

12.) I can still picture Brian J. Smith as Brandon Hardy, a high school senior in the 1980s in Roberto Aguirre Sacasa's play Good Boys and True. At one point, Brandon angrily denies to his friend Justin (Christopher Abbott) that he's gay. He hurls vile, homophobic insults, taunting Justin that he'll have a better life, he'll make more money, be more successful, be happier, because he's not going to be gay. To me, it was a powerful moment not solely because of what Brandon does to Justin - although that's bad enough - but because it shows, in a very stark way, what Brandon is doing to himself out of fear.

Yes, Billy's gotta fly

When I saw Billy Elliot, one of my favorite scenes was the dream ballet between Billy and an older version of himself, played by ballet dancer Stephen Hanna. I especially loved the moment when the younger Billy takes flight.

Well, in this morning's New York Times, Charles Isherwood writes an entire article about how much he dislikes Billy's flying. (Although he loves the scene up until that point.) He calls it a "cynical manipulation" and a "glib crowd-seducing trick" designed to appeal to children brought up on a diet of video games and action movies.

I disagree. I don't think there's anything cynical about it at all. It's a beautiful way of showing us the strong, graceful, athletic man that this scrawny little boy will become. The whole musical, after all, celebrates the joy of movement.

Like I wrote in my review, my jaw literally dropped at the moment when Billy flies. To me, it's saying that ballet may be the closest thing we have to taking flight. Yes, it's a special effect designed to elicit "oohs" and "ahhhs." But I found it visually stunning and magical and I loved it. (And I don't own any video games or particularly like action movies.)

Plus, is it any less manipulative when Billy reads a letter from his deceased mother? That really got my tear ducts working. And if we weren't manipulated, what would be the point? After all, isn't that what art is supposed to do - to get a reaction out of us, to manipulate our emotions?

Billy Elliot

Gratuitous Violins rating: ***1/2 out of ****

A week after seeing the musical Billy Elliot at Broadway's Imperial Theatre what I remember most - even more than Elton John's songs - is the dancing. In the hands of choreographer Peter Darling, this is a show about the absolute joy of movement, about the artistry and exuberance and sheer athleticism of dance.

The night I saw Billy Elliot, Trent Kowalik played the title role - a motherless miner's son from northern England who discovers that he has a passion and talent for ballet. Kowalik, 13, is a world-champion Irish step dancer from Long Island, N.Y., who previously performed the role in London's West End. On Broadway, he rotates Billy with Kiril Kulish and David Alvarez. I wish I could see all three of them.

I saw the 2000 movie Billy Elliot when it first came out and it's one of those small British gems that I really enjoy. Usually, they're about a depressed northern city or gritty London neighborhood and involve a community coming together to surmount some obstacle.

Unlike some of the more recent movie-to-musical adaptations I've seen, a lot of the charm has survived. The musical, which opened in London in 2005, features some of the same creative team as the movie - Stephen Daldry directed both and book writer and lyricist Lee Hall also wrote the screenplay. (And don't worry about the accents or not knowing the history. Everyone's easy to understand and there's a page in the Playbill that'll give you a brief rundown of the events covered in the musical.)

The story takes place against the backdrop of a strike by coal miners that lasted from 1984 to 1985. The miners walked out to protest efforts by Prime Minister Margaret Thatcher to crush their union and close unprofitable mines. There's a very pointed political song, "Merry Christmas Maggie Thatcher," and a rousing ensemble number, "The Stars Look Down," that bring home the anger of the miners. (And I also liked Ian MacNeil's whimsical set that rises up from the middle of the stage.)

As Billy's dad, Gregory Jbara is wonderful. He's a hardened, gruff man who can't imagine a life for his son that doesn't involve learning to box and going to work in the mines someday. Carole Shelley is funny as Billy's slightly forgetful grandmother and Santino Fontana is forceful as Tony, the brother who doesn't want to give in and go back to work.

It's pretty amazing to watch Billy's transformation as a dancer, from his first awkward steps to true grace. Kowalik is really terrific - a miniature Gene Kelly leaping and tapping and pirouetting across the stage in his "Angry Dance" and "Electricity." I hope he sticks with musical theatre, because I'm looking forward to seeing him on stage again as an adult.

I loved watching him surrounded by tutu-clad little girls in "Shine," and the big scrum of girls, miners and police officers all on stage together in "Solidarity." It looked a bit chaotic - I was amazed no one got a ballet-slipper-clad foot stepped on - but you just know there's an incredible order to it. There's also a sweet, funny duet, "Expressing Yourself," with Billy and his friend Michael, played by Frank Dolce at the performance I attended.

Like Billy, his dad also undergoes a transformation. It's so moving to watch him come around, from open disdain to the point where he's proud of Billy's skill as a dancer. There's a poignant scene near the end when he reaches out to hug his son and Billy turns away, perhaps without even thinking.

But to me, the person who comes closest to stealing the show is Haydn Gwynne as Billy's dance teacher, Mrs. Wilkinson. Gwynne originated the role in London, and she is so hilarious and unforgettable. I thought the show lost a bit of its spark during Act II, when she was largely absent. She portrays Mrs. Wilkinson as a demanding teacher, exasperated by her young charges' apparent lack of coordination. When she discovers Billy's talent, she rises to the occasion and becomes his champion.

I'll admit that Billy Elliot played with my emotions. The one scene that had me in tears during my week of theatergoing was when Billy reads a letter from his dead mother. I don't think there's anything more wrenching than the story of a motherless child.

I had a few quibbles with Billy Elliot. First, while it's very entertaining, at 3 hours it seemed just a tad long. A couple of the dance sequences didn't really further the story. And as much as I loved Kowalik's dancing, I didn't think he was quite as good as an actor. He's a very sweet, appealing young performer but I just felt that the rest of the cast outshined him a bit - except when he's dancing, of course.

One other thing that disappointed me a little - while it's been years since I've seen the movie, I do remember how it ends - the adult Billy dancing in Matthew Bourne's Swan Lake as his proud father looks on. The musical doesn't end the same way and I missed that emotional release.

But perhaps to compensate, the musical has a dream sequence. Billy and an adult, portrayed by former New York City Ballet member Stephen Hanna, dance together. Supported by the strong and muscular adult version of himself, at one point young Billy flies through the air. It's a stunning moment and my jaw literally dropped. It's the moment when you see the man that this boy will someday become.

Rude, rude, rude

Ok, it's the first full day of my New York City adventure. It's a little brisk in the city - I'd forgotten how windy New York can be.

Last night I saw the new musical Billy Elliot, with Trent Kowalik in the title role, and I thought it was great. I'll provide a full review after I get back, but in my humble opinion, a hilarious Haydn Gwynne came pretty close to stealing the show as Mrs. Wilkinson, Billy's dance teacher.

Afterward, I had a wonderful stage-door experience meeting the cast, getting my picture taken with Ms. Gwynne. I even told Gregory Jbara, who plays Billy's coal miner father, that I'd once been in a British coal mine! (It's true, in Yorkshire, where an old mine has been turned into a museum and you can actually go down underground and see the whole thing.)

My only complaint was the couple in back of me who wouldn't stop talking once the show began. It wasn't a whisper, either. Their remarks were clearly audible - to me anyway. What did they think, I spent $126 on a ticket to hear their conversation? I didn't come to hear Elton John's music or the actors on stage?

At one point, I turned around and glared at the guy and told him to please be quiet, which pretty much shut him up. But why did I even have to do that? It doesn't take a genius IQ to realize that once the show starts, people in the audience should stop talking!

Tonight, Madama Butterfly at the Met - my first opera! But first, time to bundle up and go sightseeing.