World AIDS Day 2010

I know it sounds strange to say that I enjoy being asked for money but I look forward to those pitches for donations to Broadway Cares/Equity Fights AIDS when I'm at a show.

Since it's World AIDS Day 2010, here's a pitch from me.

At the end of 2009, there were 33 million people worldwide living with HIV/AIDS, about 1 million of them in the United States. An estimated 56,300 Americans become infected every year.

This year's United Nations report offers some encouraging statistics: worldwide, the number of people newly infected with HIV is declining and AIDS-related deaths are decreasing.

But much work remains, including caring for people who are living with the disease.

Whenever I go to the theatre at this time of year I always make sure that I have a little extra cash to drop in the bucket if the cast is collecting for Broadway Cares. (Touring productions of Broadway shows often collect donations, too.)

The organization will award about $10 million in grants in 2010 to groups in nearly every state and around the world. Broadway Cares supports health clinics, food service and meal delivery, housing and emergency assistance. Most likely an organization near you receives help.

Broadway Cares also supports other organizations that provide services to performing artists, including the Phyllis Newman Women's Health Initiative, the Al Hirschfeld Free Clinic and resources for actors and dancers.

While they're serious about the organization's good work, the requests for donations at the curtain call are often done with a sense of humor. In 2008, I watched Daniel Radcliffe auction off a sweaty polo shirt he wore during Equus.

This fall, David Hyde Pierce was ready with a few witty one-liners after La Bete. (He should host the Tony Awards!) And it was sweet to see 12-year-old Jeremy Gumbs, the youngest cast member of The Scottsboro Boys, smile broadly at the curtain call after playing a very serious role so well. He was so incredible in the musical that it was almost startling to realize yeah, he's a kid.

But I have to give the prize to the cast of Lombardi. Bill Dawes, who plays Green Bay Packer Paul Hornung, had us laughing hysterically. And Dan Lauria was pretty funny, too, staying in character as the legendary Packers coach.

I got an autographed Playbill for $20 (a color one!) and I saw quite a few people walking out of the theatre with $100 signed window cards. But any amount helps.

I'm happy to support an organization that helps so many people and it's my way of saying thank-you to the people whose work I've enjoyed all year long. That includes everyone who works onstage and backstage and without whom, the show would not go on.

Broadway Cares also has an online store with lots of great ideas for gifts for Christmas, Chanukah or any time of year.

La Bete

La Bete, at the Music Box Theatre on Broadway
Gratuitous Violins rating: **** out of ****

I was a little wary going into the revival of La Bete, knowing the work, which first appeared on Broadway in 1991, was written in rhyming couplets and set in 17th-century France. I was afraid it might be hard to follow or seem a little musty.

Well, I'm happy to report that I was enthralled for the entire 1 hour and 45 minutes. The performances were wonderful and I loved David Hirson's play, which is funny, thought-provoking and entirely accessible.

Without being preachy, La Bete raises questions about artistic integrity, the debasement of culture, even the fickle nature of arts funding, that resonate today. And it does so while maintaining a terrific sense of humor.

A highbrow theatre troupe, under the patronage of a princess, is forced to accept a lowbrow street performer into the company. It's a situation Hirson uses to explore just how far we're willing to go in order to be entertained.

The rhyming dialogue, witty and clever, was delivered so naturally that I got into the rhythm of it immediately. And a couple of times I even guessed the word that was coming next - which was kind of fun.

Under a lesser creative team, I can see where this might not work as well. But director Matthew Warchus has a trio of superb comedic actors - Mark Rylance, David Hyde Pierce and making her Broadway debut, Joanna Lumley of Absolutely Fabulous.

Rylance is brilliant as the buffoonish, outrageous Valere. He delivers a 20-minute monologue in which, among other things, he's insulting, vulgar, childlike, apologetic and full of himself without seeming to realize it. What an amazing clown - and I mean that in the highest sense.

Hyde Pierce, as the principled - and perhaps a bit stubborn - playwright Elomire, is repulsed by Valere. His facial expressions, his body language, the props he uses all convey increasing disbelief and exasperation, while hardly getting a word in edgewise.

Lumley, wonderfully regal, enters in a shower of golden confetti. She's infatuated with Valere, her newest discovery, and demands that he join the troupe or they will lose her patronage. As for Elomire, his work has become tiresome and doesn't amuse her so much anymore.

With gorgeous period costumes and a massive book-lined study of a set, both designed by Mark Thompson, you can tell that this is a very comfortable company of actors, happily settled on a grand estate. They've got a lot to lose.

Stephen Ouimette, from Slings and Arrows, provides a voice of reason as Bejart, Elomire's assistant. He reminds him of what it was like before, when they were sleeping in haylofts, traveling from town to town. "Life is compromise! We learn to live with that which we despise."

The strength of this production is that while I was laughing so hard, it gave me so much to think about. In the end, here's what it comes down to for me:

Would it really hurt to give in to the person who controls the purse strings? It's not so terrible to simply give the audience what it wants once in awhile. Don't we all enjoy a bit of light entertainment? As awful as Rylance makes Valere, you can't take your eyes off of him.

And yet ...

In our desire to laugh or be shocked or frightened, isn't there a point at which we go too far? (Think about Network or those Jackass movies.) The impassioned Elomire, offended at being asked to lower his standards, warns, "We're measured by the choices that we make."

I'm so disappointed that La Bete is closing on Jan. 9, a month ahead of schedule. I wish more theatergoers had given it a chance. This is a play that will stay with me for a very long time.

Opening night for La Bete

La Bete the play
opens tonight on Broadway

and it's a big reason
I'm excited about the fall theatre season.

The story takes place in 17th-century France
with a cast headed by British thesp Mark Rylance.

Also, there's Tony winner for Curtains David Hyde Pierce,
an actor I'll admit I love something fierce.

Plus Joanna Lumley from TV's Ab Fab,
sets and costumes that look anything but drab.

The dialogue is written in rhyming verse,
which could be a blessing or a curse.

In 1991, playwright David Hirson didn't fare so well
as Frank Rich thought La Bete was less than swell.

With the play returning to the Great White Way anew,
here's hoping for a better reception for cast and crew.

Matthew Warchus of the hilarious Norman Conquests is directing
and his skill may help keep audiences connecting.

But whatever the critics say, one thing to remember:
I'll be in my seat at the Music Box come this November!

Proposition 8 is overturned!

Thank-you, federal Judge Vaughn Walker for ruling in Perry v. Schwarzenegger that California's Proposition 8, which banned same-sex marriage, is unconstitutional.

While the case is likely headed to the Supreme Court, it's still a hopeful development for those of us who believe that all Americans are entitled to equal protection under the law. (Slate's Dalia Lithwick has a terrific analysis of the decision.)

Judge Walker notes that California had already issued 18,000 marriage licenses to same-sex couples before the ballot measure passed in 2008 - and has suffered no demonstrable harm.

The state, he writes, has no interest in discriminating against gay men and lesbians and "the evidence shows Proposition 8 does nothing more than enshrine in the California Constitution the notion that opposite-sex couples are superior to same-sex couples."

The gay and lesbian couples affected by today's decision are not abstractions. They are our friends, our neighbors, our coworkers, our loved ones. They're in loving, committed relationships. I believe that they are entitled to the same rights as any other American citizens.

In 2009, Broadway Impact held a rally for marriage equality in New York City. Among the speakers was actor David Hyde Pierce, who talked about marrying his partner of 25 years, Brian Hargrove, before Prop. 8 was passed.



The road to equal rights for all Americans has been a long and tortuous one and progress doesn't happen nearly fast enough. But we're getting there. And today is one of the good days, because a more just society benefits all of us.

David Hyde Pierce on theatre and memory

You may recall my bond with Curtains, the first musical I saw on Broadway. Not only did I love the show but I had a great time meeting the gracious cast, including David Hyde Pierce, at the stage door afterward.

So I was thrilled that the American Theatre Wing honored Hyde Pierce with the Isabelle Stevenson Award, bestowed upon an individual from the theatre community who has volunteered time and effort on behalf of a charitable, humanitarian or social service organization.

Hyde Pierce was recognized for his work in the fight against Alzheimer's disease. His grandfather died of the disease and his father suffered from dementia. He's a board member of the Alzheimer's Association and has worked on the local and national level advocating for additional funding for research and care programs.

The award was presented to him during the pre-broadcast portion of the Tonys Sunday night. Here's part of what he said:

"We all say 'I'll never forget' and I think we say it in the theatre more than anyplace else because we're blessed to have so many unforgettable things happen in our world. I'll never forget Marian Seldes' curtain calls. I'll never forget Kelsey Grammer planting a big wet one on Douglas Hodge.

Well I don't use that phrase anymore. My work with the association has taught me that 'I'll never forget' is a phrase, it's a vow, that none of us can honestly make.

But I promise you in honor of my family, the Alzheimer's Association, my grandfather and my dad that I will be grateful for this honor, I will remember this night, as long as memory serves."

The evening at Curtains was one of many unforgettable theatre experiences I've had over the past three years. Rest assured that I will remember it as long as my memory serves.

Here's David Hyde Pierce talking about the award and his latest role, in La Bete, which he's currently rehearsing in London.

It's Tony night 2010!

The 64th annual Tony Awards, recognizing the best of Broadway, are tonight!

Despite the exclamation mark, my anticipation level is a little lower this year since I haven't seen any of the shows that opened on Broadway in 2010.

Still, I'll be looking forward to a glimpse of the ones I haven't seen and rooting for the nominees from the first half of the 2009-2010 season.

I enjoyed them all but I'd be especially delighted if Jon Michael Hill wins for Best Featured Actor in a Play for Superior Donuts and Montego Glover for Best Actress in a Musical for Memphis.

And hearing Angela Lansbury sing in A Little Night Music was such a thrill, I'll be cheering if she raises one of those new taller, heavier Tonys over her head in triumph.

What's amazed me in the run-up to the Tonys this year is the coverage - in print and from online sites, in blogs and on Twitter.

While it's been tough to keep up with all of the interviews and predictions and looks back at the Broadway season, what a great feast from which to pick and choose.

Among the absolute best pieces I've read is today's New York Times interview with Lifetime Achievement Award recipient Marian Seldes. I had the great honor of seeing her and Angela Lansbury on Broadway in Deuce in 2007.

Finally, I want to send my congratulations to David Hyde Pierce, recipient of the Isabelle Stevenson Award in recognition of his work with the Alzheimers Association.

One of my favorite Tony moments was jumping up from the couch and cheering three years ago when he won for Best Actor in a Musical for Curtains, the very first musical I saw on Broadway.

The non-televised portion of the Tonys - where awards for design, book of a musical, score and choreography are handed out - will be at 7 p.m. You can watch online at Broadway.com. The prime-time portion, hosted by Promises, Promises nominee Sean Hayes, begins at 8 p.m. on CBS.

Three extra special 2010 Tony Awards

Awards season on Broadway is kicking into high gear and I'm thrilled with three that were announced today. Congratulations to Alan Ayckbourn and Marian Seldes, who will receive 2010 Special Tony Awards for Lifetime Achievement in the Theatre and to David Hyde Pierce, this year's recipient of the Isabelle Stevenson Award.

The Isabelle Stevenson Award recognizes an individual from the theatre community who has volunteered time and effort on behalf of a charitable, humanitarian or social service organization.

I've enjoyed the work of all three on Broadway: British playwright Ayckbourn for his hilarious trilogy The Norman Conquests, Seldes as a retired tennis pro in Deuce, and Hyde Pierce in his Tony-winning performance in the musical Curtains.

I've also had a chance to meet Seldes and Hyde Pierce and they are incredibly gracious and generous with their time.

Hyde Pierce is being honored for his work in the fight against Alzheimer's disease, which claimed the lives of his father and grandfather. He's a board member of the Alzheimer's Association and has worked on the local and national level advocating for additional funding for research and care programs.

Ayckbourn, Seldes and Hyde Pierce have all been guests on the American Theatre Wing's Downstage Center program. If you'd like to learn more about their lives and their contributions to the theatre, those interviews are a great place to start.

"This wedding ring means so much to me"

David Hyde Pierce and his husband, Brian Hargrove.

Look at those two men.

How could their commitment to each other, their ability to file a joint tax return and visit each other in the hospital no questions asked, possibly be a threat to anyone? In the debate over same-sex marriage, what could I possibly say that would be more eloquent and to the point than this:

"When we heard the minister say 'Now by the power vested in me by the State of California I pronounce you married,' something happened to us. And we realized, 25 years together, if not us, who? If not now, when?

This wedding ring means so much to me. We've been together so long. It represents all the years since we first met. It represents all the family and friends who supported us all those years. It represents all the family and friends we've lost together. It represents the future that we don't know what it's going to be but we know we're going to face it together until, as they say, death do us part.

On Oct. 24 we got married. At the beginning of November, the people of California got together and took a vote and said no, I'm sorry, that ring means nothing. When we were fighting against Proposition 8 in California, a lot of things have been said about that fight. Maybe we made some mistakes. Maybe the timing wasn't right. But people said we were complacent. I promise you, we were not."

David Hyde Pierce at the rally for marriage equality in New York City, talking about marrying his partner of 25 years, Brian Hargrove. You can watch his speech here.

Broadway rallies for marriage equality

I wish I could be at 45th Street and 6th Avenue today in New York City for the rally in support of marriage equality but unfortunately, I'll only be there in spirit.

The event is being organized by Broadway Impact, which describes itself as "a community of actors, directors, stage managers, producers and fans - really anyone who's ever been in, worked on or seen a Broadway show." (Hey, that includes me!)

And it's coming at a crucial time.

Last week, New York's Assembly passed a bill legalizing same-sex marriage but the state Senate is just short of the votes needed to approve the legislation. Gov. David Paterson has been a vocal supporter of the rights of gay and lesbian couples to marry.

I'm especially thrilled that the cast of the current Broadway revival of Hair, spearheaded by Gavin Creel, is participating. It seems so fitting. The 1960s was a decade in which we expanded our idea of equality to include more Americans and young people were at the forefront of the civil-rights movement.

I like the way New York Times columnist Gail Collins put it last November, right after the election. The baby boom generation, she said, deserves a round of applause.

"The boomers didn’t win any wars and that business about being self-involved was not entirely unfounded. On the other hand, they made the nation get serious about the idea of everybody being created equal."

While we've made a lot of progress regarding equality since the 1960s, we're not done until everyone's rights are protected - and that includes the rights of gay and lesbian Americans.

Speaking of marriage, a belated mazel tov to David Hyde Pierce, who's scheduled to participate today. He married his longtime partner, Brian Hargrove, in California last fall, during the brief window when it was legal, before the state's voters passed Proposition 8.

Interviewed afterward, Hyde Pierce talked about how fundamental civil rights are not negotiable: "We’re not trying to force anything on anyone. We’re trying to go about our lives and live them the best that we can."

Update! Here are some quotes I found from speakers at the rally, via Twitter:

"To those who oppose gay marriage ... This isn't about you any more than a woman's right to vote was about men."

"Our marriages will not diminish you. The only thing that diminishes you is denying us our civil rights."

- Cynthia Nixon

"I came here seeking justice. ... We are not attacking anyone's religious beliefs."

Gov. David Paterson

Still youthful David Hyde Pierce

A belated happy birthday to Gratuitous Violins favorite David Hyde Pierce, who turned 50 on April 3.

Broadway.com has an interview with the very talented and gracious actor, whose play Accent on Youth opens Wednesday at the Samuel J. Friedman Theatre.

I still remember jumping off the couch and cheering when he won the Tony award in 2007 as the singing and dancing detective in Curtains.

On winning the Tony:

"I had all those years in Frasier at awards ceremonies, where I’d gotten up because I’d won or stayed sitting because I didn’t. I’m used to all sides of that. But at the Tonys, there was just… Being back in the theater means so much to me, because Broadway means so much to me, because of the experience of doing that show and what we all had together. All that combined was overwhelming. And I was surprised to be overwhelmed because I thought I was an old hand at this stuff."

The difference between musicals and plays:

"Those [Curtains and Spamalot] were fairly large musicals, and you had a big orchestra underneath you, which is the engine that carries you and the audience along. In a play, the actors onstage are the engine, so I end up less physically tired, but slightly more brain fried."

Meeting fans of Frasier:

"People are really nice. They come up a lot on the streets of New York, and of course, more when there are tourists in town. But regardless, there’s such affection for the show. Now it’s in reruns, and people really appreciate it. So it’s not about screaming. More often, it’s a nice quiet conversation on the street. I’ve had a million of those, and I love it."

World AIDS Day 2008

Today is the 20th anniversary of World AIDS Day, and bloggers around the world are uniting to raise awareness of the disease.

I'll always remember when David Hyde Pierce broke the fourth wall at the end of the Broadway musical Curtains to ask for donations to Broadway Cares/Equity Fights AIDS.

Of course, I knew about the organization and all of the good work it does. Since its founding in 1988, Broadway Cares has raised over $140 million for critically needed services across the United States for people with AIDS, HIV or HIV-related illnesses.

Still, there was something startling - in a good way - about having an actor who'd been playing a character a minute earlier address the audience as, well, himself. It was a reminder that Broadway is a community that includes not just the performers on stage and people who work behind the scenes but those of us who sit in the audience as well.

Today is another chance to be part of a community.

So please consider making a donation to Broadway Cares or another AIDS-related charity. (Also, check out the great online store at the Broadway Cares Web site, which has gift ideas for all of your holiday shopping needs.)

If that's not possible, and I realize it may not be in this difficult economic climate with so many worthwhile organizations making requests, take a few minutes to learn about the disease and the impact it's having around the world, especially in Africa.

Worldwide, more than 33 million people are living with HIV/AIDS, including more than 1 million Americans. Sub-Saharan Africa is more heavily affected than any other region. In three countries - Botswana, Lesotho and Swaziland - the HIV rate exceeds 20 percent of the population.

Theatrical comings and goings

I'm so sad that [title of show] will play its last performance on Oct. 12. Another one closes before I see it. I know a lot of people questioned whether it was too insidery to appeal to the Broadway tourist crowd. But from the clips I've watched, this little musical that could was a sweet story about chasing your dream, and it sounded like so much fun.

The Lyceum Theatre, where it's been playing, has 922 seats. I wonder if it would have had more of a chance for a longer run in a smaller theatre, like Circle in the Square, which only has 650 seats? Since it was only playing to 30 percent capacity, probably not.

Sigh. Why don't shows stay open until I have a chance to get to New York City? Is that too much to ask? Would it help if I had a couple million dollars to invest?

I watched an old episode of Theater Talk today with Patrick Stewart and Rupert Goold talking about last spring's production of Macbeth. A clip from the play confirmed how I felt about it: visually stunning but hard to figure out what was going on.

Listening to Goold, the play's director, and Stewart, who got a Tony nomination for the title role, actually made the play sound more interesting and accessible than watching it on stage. Maybe you have to be British and start reading Shakespeare in kindergarten to truly understand it?

More casting has been announced for the Manhattan Theatre Club's production of the comedy Accent on Youth, which begins previews on April 7. This is one I swear I will not miss. David Hyde Pierce, a Gratuitous Violins favorite, will portray a playwright who's about to abandon his latest script when his secretary offers him new inspiration.

He'll be joined by Charles Kimbrough - a Tony nominee for the original production of Company and an Emmy nominee for Murphy Brown - as the butler. I used to watch Murphy Brown all the time, but I have to admit, I don't remember Kimbrough from the show. Apparently he played stuffy anchorman Jim Dial. Maybe it's time for a little review?

Finally, thanks to The Homesteader for pointing me to this story from the Denver Post. The musical Little House on the Prairie, currently playing to packed audiences at the Guthrie Theater in Minneapolis, will come to the Denver Center for the Performing Arts late next year, with Melissa Gilbert reprising her role as Caroline "Ma" Ingalls. The musical will stop in Denver from Dec. 22, 2009 to Jan. 3, 2010.

The producers had announced earlier that Little House would embark on a 40-city tour in the fall of 2009, but this is the first location I've read about. I'm a little surprised that Gilbert is touring, but good for her! She wasn't what I enjoyed most about the production, but it was nice to see her on stage.

The final curtain

Sure, I love plays but let's face it, when you think of Broadway, what's the first word that comes to mind: musicals, of course! So today is kind of sad because Curtains, a tremendously entertaining backstage murder mystery, and the very first musical I ever saw on Broadway, is closing after 537 performances at the Al Hirschfeld Theatre.

I've written before about how this last work from the legendary team of John Kander and the late Fred Ebb, of Chicago and Cabaret fame, sang and danced its way into my heart on Friday, April 13, 2007.

It was a very lucky day and evening for me - seeing Curtains that night turned out to be the perfect ending to a wonderful, leisurely stroll around Manhattan. I made a big rectangle - I started out at Macy's on 34th Street, walked up to the Museum of Natural History, crossed Central Park, then walked down Fifth Avenue and stopped at Rockefeller Center before making my way to Times Square. Although I love cities, and I've lived in a couple of great ones, New York always intimidated me. But by the end of that day, I felt incredibly comfortable and at ease. You could say that was the day I fell in love with New York City.

My journey to Curtains began four months earlier, when I asked my new friend and soon-to-be brother, Steve on Broadway, which musical I should see during my trip to New York City the following spring. I mentioned some shows I'd read about, but Steve suggested one that I'd never heard of, a musical that he'd seen in Los Angeles in 2006. He described Curtains as "a good old-fashioned musical comedy of the first order," and "everything a Broadway musical should be." He was Steve on Broadway, after all, so I figured he should know.

Since then, I've had a chance to see most of the other musicals that I mentioned to Steve, and while I enjoyed them to varying degrees, Curtains absolutely was the perfect choice for my first musical on Broadway. It was everything I expected a Broadway musical would be - an entertaining story (by Rupert Holmes and the late Peter Stone), terrific choreography (by Rob Ashford), catchy songs (by Holmes, Kander and Ebb), and a wonderful cast that created truly memorable characters. After an evening like that, how could you not fall in love with the Great White Way?

My seat was in the center orchestra, second row, and right from the overture, it was thrilling. I had no idea the conductor would rise up from the orchestra pit at the beginning! I was afraid I'd be too close, but the view was perfect. I was smiling from the first strains of the overture until the final and hilarous last scene - David Hyde Pierce made an entrance that was so funny and inspired, I couldn't remember the last time I laughed so hard. (And I was sitting so close, I could see the sweat on his face!)

And the cast, wow - they were all wonderful. David Hyde Pierce brought such charm and wit to the role 0f 1950s-era Boston Police detective Frank Cioffi. He creates a very likable, sympathetic character. When he's called to the Colonial Theatre to investigate a murder, well the musical theatre fan inside him can barely conceal his excitement. I loved his song-and-dance routein with the ingenue Niki, played so sweetly by Jill Paice, in "A Tough Act to Follow." They looked just like Fred Astaire and Ginger Rogers! I was so happy when he won the Tony award as Best Actor in a Musical.

And Debra Monk was hilarious as the brash, tough-as-nails Carmen Bernstein, producer of the show-within-a-show. I still crack up when I listen to her on the cast recording singing "It's a Business." I loved watching Noah Racey dance as choreographer and leading man Bobby Pepper. I loved Karen Ziemba and Jason Danieley as the ex-spouses and ex-songwriting team Georgia Hendricks and Aaron Fox, who haven't quite gotten over each other. Really, I could go on and on. I loved the big ensemble numbers, like "Show People," and the tender "Coffee Shop Nights" and "I Miss the Music."

One thing I've learned over the past 18 months is that comedy is hard, and musical comedy is even harder. But Curtains pulled it off with such great style and ease. I think part of it was the awesome cast and part of it was the songs and part of it was simply telling a story really well. Whereas Young Frankenstein, for example, just felt kind of flat and tinny to me, with characters who never totally came alive, (well, with the exception of the monster, I guess) Curtains felt rich and vibrant, with engaging, outsized characters. It was just fun - pure enjoyment from start to finish.

I was a little startled at the end, when David Hyde Pierce broke the fourth wall, stepping out of character to ask for donations to Broadway Cares/Equity Fights AIDS. It was the first time I'd seen a performer do that. Being David Hyde Pierce, of course he did it in a way that was heartfelt, but also funny and endearing. Watching nearly everyone drop something in the buckets on the way out gave me a sense of the community that exists on Broadway - among actors and between actors and the audience.

At the stage door, everyone in the cast - David Hyde Pierce, Debra Monk, Karen Ziemba, Jason Danieley, Noah Racey, Jill Paice, Edward Hibbert, Megan Sikora, John Bolton, Ernie Sabella, Michael Martin, Michael McCormick and David Loud, among others, - walked down the line of fans, signing autographs, chatting, posing for pictures. I really loved all of them. If you want to get a great sense of the show, pick up the cast recording - it's one of my favorites.

Somehow, I got it into my head that I should tell each and every cast member that it was my first Broadway musical. To a person, they were incredibly gracious and excited for me, and so thrilled that I'd chosen to see their show. I can't say enough about them. They're a talented, hard-working group of actors whose names are largely unknown to the non-theatergoing public, but as Lt. Frank Cioffi says, they're all heroes to me. It was an honor and a privilege to see them on stage.

And meeting David Hyde Pierce was absolutely the best. When I told him that Curtains was my first musical and the night before, I'd seen my first play, he was genuinely interested, asking me what I saw and how I liked it. He posed for a picture, and then, a few months after that, Steve, my dear friend, brother and theatre guide, got me a souvenir book signed by the entire cast.

I wish Curtains had gotten a bigger audience, stayed around for awhile longer. It's sad that so many out-of-town visitors to Broadway passed up a chance to see a terrific show. But I know it'll have a great life on tour and in community productions. Hopefully, I'll get to see it performed somewhere else someday. But nothing will ever replace the thrill of seeing Curtains on Broadway, with its original cast. Here, some of the cast members reminisce about their favorite moments with the show.

I hope I can see David Hyde Pierce next spring, when he returns to Broadway in the play Accent on Youth. And I'll be looking forward to seeing the rest of the Curtains cast on stage again. They definitely made a fan. The Hirschfeld's next tenant will be the musical version of Charles Dickens' A Tale of Two Cities. Let me tell you, Curtains will be a tough act to follow.

He'll be back

While I'm sad about A Catered Affair closing, as Modern Fabulousity reassures us, Broadway has an infinite number of shiny, beautiful baubles asking for our love. So, I guess it's time to move on and look forward.

When I was in New York last month I had a chance to stop by the stage door of Curtains and say hello to its charming and talented star, David Hyde Pierce. It'd been a year since I'd seen him - when I saw Curtains, in April 2007, so we had some catching up to do. I congratulated him on winning a Tony, thanked him for being so gracious when we first met, told him how sorry I was that Curtains was closing, and said I hoped he'd be back on Broadway again soon.

Well, he is so gracious that even though he probably wanted to take a year off after 16 months of singing and dancing his heart out eight times a week, David Hyde Pierce apparently did not want to disappointment me. Next April, he'll be starring in the Manhattan Theatre Club's revival of the 1934 comedy Accent on Youth at Broadway's Biltmore Theatre.

I'm so excited about the prospect of seeing David Hyde Pierce on stage again. I absolutely love him and I hope this means that the Frasier star has decided to make his new home on stage, in New York. This is officially one of my most anticipated shows of the season - right up there with Billy Elliot. (Yeah I know, I'm excited about a play. What can I say? Sorry, Chris.)

Accent on Youth was written by Samson Raphaelson, a noted playwright and screenwriter. It opened on Broadway on Dec. 25, 1934, at the Plymouth Theatre (now the Schoenfeld) and ran for a total of 229 performances. There have been several movie versions, including one with Bing Crosby, in 1950, called Mr. Music, and But Not for Me, with Clark Gable, in 1959.

There's always the question of how well older comedies stand up, whether the jokes and the characters will seem dated. But the plot sounds promisingly funny. Hyde Pierce's last two Broadway shows, Curtains and Spamalot, have been musicals. His last Broadway play was The Heidi Chronicles, in 1990. In Accent on Youth, he'll portray a playwright who's inspired to write again by his young secretary. His new play makes it to Broadway and then he learns, to his dismay, that the secretary also has been inspiring the leading man.

Meanwhile, Curtains closes on June 29, so there's not much time to see this funny, wonderfully acted, tremendously entertaining show. I know I'd see it again if I could.

Stage door stories Part II

I've written before about some of the wonderful experiences I've had meeting performers after a Broadway show. Well, I don't want anyone to think that it's all smiles and puppies and kittens at the stage door. Last weekend I had the unique experience of being turned down for autographs by two Academy Award-winning actors in the space of less than 10 minutes.

On Saturday night, I saw The Country Girl at the Jacobs Theatre. It's a play about a washed-up, alcoholic actor, portrayed by Morgan Freeman, who's given a second chance at stardom. Frances McDormand plays his long-suffering wife and Peter Gallagher is the ambitious director who tries to keep Freeman's character from falling off the wagon.

Now, as I learned after Frost/Nixon, it's kind of tricky waiting for actors after a show at the Jacobs. While there is a stage door next to the entrance, most actors seem to leave through a service corridor next to the Golden Theatre, where Avenue Q is playing. So last spring, I missed Michael Sheen's quick exit that way, and Frank Langella apparently never came out at all. Maybe he's still there.

This time, I was prepared, leading my two theatergoing buddies, Steve on Broadway and the love of his life, to that spot. As we waited in line with a couple dozen eager fans, Oscar winner Morgan Freeman walked past us accompanied by a security person, who informed us that the actor wouldn't be signing autographs. Although he did deign to grace us with a smile.

Ok, I was 0 for 1.

Then a few minutes later, standing outside the Jacobs was Oscar winner Frances McDormand. My friends told me she wouldn't sign my Playbill either, but I approached her anyway. To her credit, Ms. McDormand was very polite. She was sorry, but told me, "I don't do press, I don't do photographs, I don't do autographs. I just work." (Hmmm, isn't doing press part of the work?)

I was 0 for 2, and I didn't even think about waiting to get turned down by Peter Gallagher. My tender ego couldn't stand any further rejection.

But as I've said before, the vast majority of Broadway performers are incredibly gracious, more than willing to sign autographs, pose for pictures and chat with their fans. Indeed, my first Broadway autograph was with two-time Academy Award winner Kevin Spacey after seeing him in A Moon for the Misbegotten last year. (So take that, Frances McDormand and Morgan Freeman!)

After that episode, my friends and I walked over to the Al Hirschfeld Theatre to say hello to the cast of the immensely enjoyable musical Curtains. I'm so glad we did, because my faith in humanity was soon gloriously restored.

Sadly, the show is closing on June 29, so these actors don't have much to gain in terms of goodwill by signing autographs, but they did it anyway, graciously greeting every fan who wanted to meet them. They were just as nice as they were last spring when I saw Curtains, my first-ever musical on Broadway.

I was so happy that I had a second chance to talk to the show's star, David Hyde Pierce. I congratulated him on winning a Tony award for his performance, thanked him for being so kind when I met him last year, and told him I hoped he'd be on Broadway again. If he's in a show, I definitely want to see it.

But wait, it gets even better.

After that, my buddies and I waited outside the Music Box Theatre for August: Osage County to let out. We had a terrific conversation with Rondi Reed, now a Tony nominee for her wonderful performance as Aunt Mattie Fae Aiken.

My friends had met her before, and she greeted us so warmly. Let me tell you, standing there on the sidewalk for more than a half-hour, until they actually shut off the theatre lights, laughing and chatting with Ms. Reed will always be one of my most memorable stage-door experiences. What a great actress and what a genuinely warm and friendly human being.

Despite my experience at The Country Girl, it was a great weekend for celebrity sightings. I saw former heavyweight champion George Foreman and Grammy winner John Legend leave the MTV studios, and I just missed Chris Rock. His car pulled away as I was crossing the street.

At the stage door after A Catered Affair Harvey Fierstein and Faith Prince were wonderful. But a highlight for me was when eagle-eyed Steve spotted Scott Wittman, who was waiting for Harvey, standing off to the side. Wittman, and his writing and life partner of more than 25 years, Marc Shaiman, are the Tony-winning composers of Hairspray.

I was a little hesitant about approaching Scott Wittman, but Steve gently encouraged me, and I'm so glad he did. It was pretty thrilling. (And I never would have recognized him on my own). After I saw Hairspray on tour last year, it immediately became one of my favorite musicals. I listen to the Broadway cast recording all the time.

I was completely tongue-tied, had no idea what to say, but Mr. Wittman could not have been nicer when I told him how much I loved Hairspray. He smiled such a sweet smile, crossed his hands over his heart and said, "thank-you." Then he pointed to Harvey and said that he was a big part of Hairspray's success. I wish I'd replied, I'd love to have seen the show with its original cast, but honestly, the story and the music are timeless to me.

The curtain falls

I really didn't see this one coming. Curtains, the first musical I saw on Broadway, is closing June 29 after what will be a 16-month run at the Al Hirschfeld Theatre.

The last time I looked, the show was playing at 75 percent capacity, with an average ticket price of $65, which seems like a perfectly respectable number to me, especially since we're at the tail end of winter. And attendance is up 13 percent over the previous week. According to Variety, the show hasn't recouped its initial investment, so I guess that's probably a big part of it.

Yes, I know shows close all the time, but this one, like The Color Purple, is hitting me especially hard. Curtains plays a big role in what I wrote yesterday about the value of theatre. But it's also special to me for a few other reasons.

First of all, I saw it at the end of a wonderful day in New York City, in which I walked all the way from Macy's at Herald Square up to the Museum of Natural History, crossed Central Park, made my way down Fifth Avenue, visited the Top of the Rock, and had a delicious meal at The Blue Fin. And did I mention how friendly and helpful New Yorkers are?

You'd think I would have been pretty wiped out by 8 o'clock and in no shape to see a show, but I loved Curtains. The cast was terrific, especially David Hyde Pierce as the Boston detective sent to investigate a backstage murder and Debra Monk as the show's brassy producer. I loved the humor, the murder mystery plot and the dance numbers, especially the duet between Hyde Pierce and Jill Paice. The final scene is hilarious. And I'm constantly listening to the cast CD. It gives you a great taste for the show. I had a great time and thoroughly enjoyed it.

Meeting the cast afterward and getting my picture taken with David Hyde Pierce just made it perfect. When I told everyone that I'd seen my first play on Broadway the night before, and Curtains was my first musical, they were beyond nice. Mr. Hyde Pierce especially won my heart when he asked me what play I'd seen the night before and whether I liked it. He was terrific when I ran back and asked for a picture. He is a great performer and a great gentleman.

While I'd love to see it again, in a way I'm glad I probably won't have a chance. I want to remember Curtains just the way it was the first and only time I saw it.

Way back in December 2006 (which seems like a very long time ago!) when my new friend, Steve on Broadway, was helping me plan my first trip to Broadway, I asked his advice on a musical to see. I'd never heard of Curtains, but Steve told me that he'd seen it in Los Angeles and it was fantastic, "everything a Broadway musical should be." And he was right.

But little did I know that seeing the show, on April 13, 2007, wasn't going to be the end. There was the thrill of David Hyde Pierce winning the Tony for best actor in a musical that June. I was so happy I jumped up from the couch and cheered!

Then, in July, I got a package from Steve. Even though he wasn't seeing Curtains, on a trip to New York he stopped by the stage door and had the entire cast sign a souvenir program. It came with a personal hello from David Hyde Pierce! A few weeks later I met Steve for the first time, and he brought me two gifts: an opening night Playbill from the show we were seeing that evening, The Color Purple, and a program from the 2006 premiere of Curtains.

In addition to being incredibly entertaining, and having a gracious and talented cast, Curtains is a memorable show for me because of a wonderful friend and brother who helped make it even more special.

Empty seats

Chris Caggiano at Everything I Know I Learned from Musicals follows the Broadway box office the way baseball fans follow box scores, so I can count on him to keep me updated on the latest trends.

I was shocked to read on Chris' blog that attendance at my beloved Curtains fell below 50 percent last week. David Hyde Pierce playing in a half-filled theater? Oh the unfairness! What happened to the other half of the audience? Even more puzzling was the fact that the same week, Mamma Mia! played to nearly 70 percent capacity. Sounds like a case for the character he plays in Curtains, Boston police Lt. Frank Cioffi.

On one level, I guess I understand. As Chris points out, February is the cruelest month on Broadway. It's not a great month for tourism, and tourists fill most of the theater seats. Mamma Mia! has an international reach. It's played all over the world, so the story and music are more familiar to visitors who come from other countries.

I loved Mamma Mia! but Curtains stars Hyde Pierce in his Tony-winning role, and the show still has most of its terrific original cast. It's got a fun murder mystery plot, memorable characters, wonderful songs and great choreography. It deserves a bigger audience, even in the depths of winter.

So to get you in the mood, here's a sweet video interview of David Hyde Pierce answering questions from fans, including the one on everyone's mind: which musical would be the perfect vehicle for him and his Frasier costars Kelsey Grammer and John Mahoney?

One hundred posts

This is my 100th post since I started Gratuitous Violins on Sept. 30, 2007. The number 100 is considered a milestone in the school year, in Congress and in presidential administrations, so why not in blogging?

When I check my statcounter, I'm amazed to see the places readers have come from - all over the United States and all over the world. Unfortunately, I haven't always been able to answer the question that brought them to my blog. So, to mark my 100th post, I'll try to answer some of them.

Which Broadway plays have stage doors?
I think they all do. The actors have to leave the theater somehow. Although sometimes they have ways of slipping out unnoticed. I never did see Frank Langella or Michael Sheen after Frost/Nixon. Sometimes the stage door is right next to the theater entrance, other times, it's around the corner in the back. If you're unsure, ask an usher, or just look for the metal barricade and a crowd of people clutching Playbills and Sharpies.

Broadway meeting the cast stage doors
If you have the time, you can and should go to the stage door after the show. Most of the actors will stop and sign autographs, pose for pictures and chat with you for a minute as you express your admiration for their performance.

Easy to meet David Hyde Pierce at the stage door?
Yes, it's very easy. I met him in April after a Friday night performance. He was very nice, signing my autograph and posing for a picture. I told him that Curtains was my first Broadway musical, and the previous evening, I'd seen my first Broadway play. He seemed genuinely interested and talked to me for a few minutes about the experience. In fact, the entire cast of Curtains is friendly and gracious and I loved the show. So definitely stop by, and tell David Hyde Pierce I said hello. He'll be in the show through Aug. 31.

Are jacket and tie required for going to the theatre in New York?
No, a jacket and tie are not required to see a show on Broadway. Sure, some people will be dressed up, especially if it's a weeknight and they've come from work. But generally, it's pretty casual. A nice shirt and pants are fine. You can wear whatever you want - some people come in jeans, sneakers, t-shirt. It doesn't matter. Nowadays, people dress for the theater pretty much like they dress for a movie. Maybe that's good, maybe that's bad, I don't know. But that's the way it is.

Swordfighting in Cyrano
Yes, there was swordfighting in Cyrano. It was my first time seeing swordfighting on stage, and it was great. Unfortunately, the show, with Kevin Kline and Jennifer Garner, has closed. But don't despair: it was taped for airing on the PBS series Great Performances. There's no air date yet.

Lower East Side NYC dangerous
Hmmm, I don't know. I do know that crime is way, way down in New York City and I felt very safe and comfortable everywhere I went in Manhattan. As always, avoid unfamiliar, deserted places, especially at night, and especially if you're alone. But generally, the places where tourists venture in New York are safe, the subway is fine, and the people are incredibly friendly and helpful. As in any big city, or small town for that matter, just use common sense and keep your wits about you. So go, and have a great time.

Theme from Ice Castles
I guess this 1978 movie has lots of fans, because I've gotten a number of searches about it, including one for "hot sexy Lynn-Holly Johnson," who plays teenage figure skater Alexis Winston. Someone else wanted to know how the movie ends, but I don't want to give it away for anyone who hasn't seen it yet. The theme song is "Through the Eyes of Love." It was written by Carole Bayer Sager and Marvin Hamlisch, and garnered an Oscar nomination for Best Song. In the movie, it's sung by Melissa Manchester.

The 25h Annual Putnam County Spelling Bee and Vanessa Ray
Vanessa Ray plays Olive Ostrovsky in the touring production, which I saw in November. I loved the show, and I thought she was great as the shy and vulnerable Olive, waiting in vain for her father to come watch her at the spelling bee. Here's a short video of Ray talking about the role, and here's an interview.

Who invented the violin?
No one knows for sure. The violin owes its origins to many instruments, dating back to the ancient lyre. The violin emerged in its present form in northern Italy in the 16th century. According to this site, some theories hold that it could have been invented around 1520 A.D., since that was when the first painting including a violin was created, Madonna of the Orange Trees by Gaudenzio Ferrari.

Happy birthday on the violin?
I'm not sure about this one, since I don't actually play the violin, or any other musical instrument for that matter. But this might help. Click on the "play" button if you want to hear how it sounds.

Jerusalem food
Since so many Israelis trace their roots back to Middle Eastern countries, the food is much more kubbe, and not so much knishes. When I lived in Israel 10 years ago, it was hard to find a good bagel. If you want to learn more, Joan Nathan has written some great cookbooks on Jewish and Israeli food, including The Flavor of Jerusalem and The Foods of Israel Today. If you're planning a trip, here's a list of restaurants to check out. I'm not sure if it's there anymore, but one place I liked is The Yemenite Step.

Shalom Chaver
This is the phrase that former President Bill Clinton memorably uttered to eulogize Israeli Prime Minister Yitzhak Rabin, who was assassinated in 1995. It's Hebrew for "goodbye friend." The phrase, and variations, such as "friend, you are missed," and "friend, I remember," became popular ways for Israelis to remember Rabin. It's also the name of CD from a memorial concert held in Rabin's memory in Jerusalem and featuring many well-known Israeli musicians.

Some of the questions stumped me: sentimental ideas for a 40th birthday party, (I can't think of any off the top of my head) using the musical Wicked in wedding speeches, (I guess it's ok. My suggestion would be to check out the "For Good" lyrics) and the length of Debra Monk's contract in Curtains. (I have no idea).

However you found my blog, thanks for stopping by. Hopefully, the first 100 posts are only the beginning.

The Curtain won't fall yet

David Hyde Pierce, who won a Tony award for his role in "Curtains," has extended his stay with the show until Aug. 31. Here's what he told Playbill: "I just couldn't say goodbye yet — to this company, to this part, to this great show. Singing and dancing eight times a week may kill me, but I'll die happy."

Personally, I'm thrilled that Broadway audiences will have a chance to see this talented comic actor, who's also become a terrific song-and-dance man, through the summer. (Not to mention a very gracious gentleman. I had the pleasure of meeting him at the stage door afterward.) I loved the show and I loved his performance. I literally leaped up from the couch and cheered when he won the Tony as best actor in a musical!

"Curtains" was the first musical I saw on Broadway, so it'll always hold a very special place in my theatergoing heart. It's got humor, a murder mystery to be solved, intricately choreographed dance routines, a score that's alternately rousing and tender, and characters who are memorable, outsized personalities. It's just wonderfully entertaining from the thrilling opening notes of the overture, to a very dramatic start, to an unbelievably hilarious finish.

I also love the way that the show, the final one from the legendary songwriting team of John Kander and the late Fred Ebb, celebrates the theater. (For more on the cast of characters, check out the show's very complete Web site, which also has interviews, reviews, audio and video clips, and a great collection of e-cards suitable for any occasion).

David Hyde Pierce is funny and sweet as Boston police detective Frank Cioffi, called on to investigate the murder of an actress in a troubled Broadway-bound musical. Cioffi also happens to be a huge musical theater fan, and you can tell from the very moment he walks on stage that he's starstruck, as he tries to fix the show and solve the crime.

Having seen nine other Broadway musicals since "Curtains," I'm even more impressed by his skill in holding the show together. I had a great seat, second row in the center orchestra, and I was so close, I could see the sweat on his face. It's hard to explain, but he was a commanding presence in a way that I didn't always feel, for example, when I watched Roger Bart in "Young Frankenstein." (Of course, I was also sitting much farther away for "Young Frankensten.")

While I don't know whether anyone else in the cast will extend their stay, it's a great ensemble. I especially love Debra Monk as tough-talking producer Carmen Bernstein. Given Broadway's recent labor troubles, her big number, "It's a Business," certainly takes on new meaning. I have to admit, every time I hear on the cast CD that line about the theater being a temple, and Monk responds, "What, so it should only be open on Shabbos?" I laugh. Yes, it's silly, but her delivery is so perfect!

When I first came home, I didn't have the cast CD to listen to, and the show faded from my memory a bit. But since it came out, I've been listening repeatedly, and gaining even more appreciation for the humor and the music. I love the poignancy of "I Miss the Music," and the showstopping "Show People."

My friend Steve recommended "Curtains" to me on the strength of seeing it in Los Angeles during its pre-Broadway tryout. He gave it another rave after revisiting the show at New York's Al Hirschfeld Theatre. As he told me, "Curtains" is everything a Broadway musical should be. I can't say it any better than that.

From stage to screen - and back

Last night I watched "Private Practice," the spinoff of ABC's "Grey's Anatomy." I've never seen "Grey's Anatomy." I'm not terribly interested in medical shows. And it turns out that this one is pretty forgettable. But Audra McDonald is in it, and that's a big attraction for me.

I saw the four-time Tony winner on Broadway in July in "110 in the Shade." Wow. What an incredible, rich, operatic voice. (Ok, I've never actually been to an opera, but her voice is what I imagine an opera singer's would sound like).

Plus, she's just a great actress. She's a beautiful, confident woman who makes us believe through sheer force of her acting skills that she's awkward, unattractive and insecure. I'd never seen her in anything before, and she totally won me over. Unfortunately, I don't think your average TV-show dialogue really demonstrates the full extent of her talent.

Audra McDonald isn't the only theater veteran I've watched on television this week. I'm at the beginning of a "Sex and the City" marathon, and it was a wonderful surprise to see Marian Seldes playing Mr. Big's mother.

I've seen a few movie and television actors on stage so far. The ever-growing list includes Kevin Spacey, Colm Meaney, David Hyde Pierce and Angela Lansbury. Next month, I'll add Kevin Kline in "Cyrano" to the roster. (Jennifer Garner's in it, too, but I never watched "Alias.")

I have to admit that for me, that's one of the thrills of going to a Broadway show. I enjoy watching an actor whose work I've admired on television or in the movies perform on stage. Now, I'm realizing it works the other way around as well - I enjoy watching an actor I've liked on stage perform on TV or in a movie.

To hear a terrific interview with Audra McDonald, check out this Downstage Center program from 2005. In it, she discusses getting her start at a dinner theater in Fresno, Calif., when she was 16, playing Eva Peron in "Evita," and the relief she felt at finally not winning a Tony Award.