Jesse Tyler Ferguson: TV & theatre

Blogging has been kind of anemic lately but I do have some good theatre-related quotes to share:

Vanity Fair has a Q&A with the very funny and sweet Jesse Tyler Ferguson. He talks about his Emmy nomination for Modern Family and the difference between theatre and television:

"The paycheck! (Laughs.) You definitely get paid much more for TV, but it’s also nice to do a show eight times a week and really hone in on what that character is. You can say, “Tomorrow I’ll try it this way or tomorrow I’ll try it that way.” But I love the immediate response you have to make with TV. Once you do it, and once it’s on film, that moment’s gone and you have to move on to the next."

Modern Family was my favorite new TV show of last season and I'd love to see Ferguson onstage someday. Hopefully he'll continue to fit theatre in around the shooting schedule, like he did this summer with Shakespeare in the Park

And one of my favorite musicals, Hair, which closed on Broadway earlier this year, earned a mention in The Wall Street Journal. It was included in a story about the Theatre Development Fund's effort to encourage theatergoing by underrepresented groups in New York City.

The program, called New Audiences for New York, is a great idea. This past Broadway season, it brought more than 30 groups - from churches, schools and senior organizations - to see shows and participate in discussions about them.

But one paragraph made me wince:

Cathy Cahn, who led a group from the Queens-based group Services Now for Adult Persons (SNAP) to "Hair," discussed how seniors valued the chance to see a show and talk about an era they remembered well: "They don't travel into the city, and Broadway is prohibitively expensive. It gave us a different insight. It gave us so much to talk about afterward."

Is that what it's come to: Hair, the perfect show for gulp, senior citizens. I suddenly feel very old.

Hair today, gone tomorrow

The show in which I made my Broadway debut - Hair - is closing today at the Al Hirschfeld Theatre after 548 performances and a Tony for Best Revival of a Musical.

I wish it could have run longer but one thing I've learned, except for The Phantom of the Opera nothing lasts forever.

I love the songs from Hair, I saw the movie in 1979 and I caught a touring production once in Syracuse, years ago.

But this revival, directed by Diane Paulus, is the one that truly got to me. I love the way it evoked the be-who-you-are spirit of the 1960s while not ignoring the more tumultuous events. Here's my review.

Inviting the audience onstage at the end of the show was a perfect way to celebrate a decade that was all about breaking down barriers. It was a thrilling experience and I'm happy I could share it with Kevin, my friend and fellow blogger.

(And how great was it that the cast of Hair were such strong supporters of marriage equality, bringing forward the decade's commitment to freedom and social justice.)

Paulus could have turned Hair into an exercise in hippie nostalgia - a look back at a time of sexual liberation, when young people dropped out, got stoned, wore tie-dyed shirts and bell bottom trousers and men grew their hair long.

Instead, she made the story relevant and compelling by keeping the focus on the most divisive and politically charged aspect of the decade - the Vietnam War.

Through Gavin Creel's terrific portrayal of the conflicted Claude, the musical brought home the difficult choices young men faced. Young men, that is, who weren't as fortunate as Dick Cheney or Richard Blumenthal.

For me, more than the fashions and hairstyles, Claude's plight was a stark reminder of how much has changed.

There was an article last week in The New York Times that pointed out, America's "all-volunteer military continues to fight two wars that the vast majority of American society pays little or no attention to."

Forty years ago, at the height of protests against Vietnam, that detachment would have been inconceivable.

I saw Hair on Memorial Day weekend in 2009. It's a powerful reminder of the care we should take before sending Americans into harm's way, whether they're draftees or volunteers, our loved ones or someone else's.

While Hair is closing on Broadway, a national tour begins this fall. I am so glad I had a chance to see it.

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.

The best theatre of 2009

I've avoided making best-of lists the past couple of years because it's just too difficult. For me, going to the theatre, especially in New York City, is such a treat. Even if I didn't absolutely love the play or musical, there's almost always some saving grace.

So I usually settle for taking note of my favorite performances, which allows me to mention just about everything. But this year, there were a half-dozen shows that moved me so deeply, I wanted to recognize them. After careful study and much thought, these are my picks for the best of 2009. I saw five on Broadway and one off-Broadway. Two were transfers from Chicago and one came from London.

Next to Normal

Composer Tom Kitt and lyricist and book writer Brian Yorkey have accomplished something so rare for Broadway - an original musical about a complex subject. Alice Ripley as Diana, a woman in the throes of mental illness, J. Robert Spencer as her husband, Dan, and Jennifer Damiano as their daughter Natalie were heart-wrenching. The vibrant rock 'n' roll score conveys so well what each character is going through - how they feel, their fears and frustrations. As an outsider looking in, I gained a greater understanding of the devastating impact mental illness has on a family and how difficult it is to treat. Next to Normal was tough to watch at times, but I found it utterly compelling.

Hair

I've always loved Hair and I've always been interested in the 1960s. The current Broadway revival evokes the spirit of the decade without glossing over its tumultuous events. Will Swenson and Gavin Creel are terrific as the charismatic leader of a tribe of hippies and a conflicted draftee, respectively. Under the direction of Diane Paulus, the musical is exhilarating to watch. But Paulus also reminds us of the cost when we send young Americans into harm's way. And fittingly for a time in which inhibitions were cast aside, Hair ends with an invitation to become part of the tribe. As a result, I set foot on a Broadway stage for the very first time. I got to sing and dance (in my off-key, uncoordinated way) and see how things look from the other side. It was the most thrilling moment I've ever had at the theatre and one of the most memorable experiences of my life.

Our Town and Brighton Beach Memoirs

What director David Cromer did so brilliantly in Our Town off-Broadway and Brighton Beach Memoirs in its too-short Broadway run was strip them to their essence: absorbing stories of the daily lives and loves of American families.

As Our Town's high school sweethearts Emily and George, Jennifer Grace and James McMenamin embody the awkwardness of teenagers. And Cromer, as the stage manager, was incredible - so unaffected and genuine, I didn't even realize the play had begun when he started speaking. For the first time, I felt like this play about early 20th century life in small-town New Hampshire could be taking place today. Our Town runs through Jan. 31 at the Barrow Street Theatre in Greenwich Village. Cromer, who helmed the play in its premiere at Chicago's The Hypocrites, is returning to the play as the stage manager tonight through Jan. 3, so this is a perfect time to see it.

And in Brighton Beach Memoirs, Cromer served up a warm portrait of a family scraping to get by during the Great Depression. They're absolutely Jewish but you didn't have to be to appreciate their struggles, their humor and their hopes and fears. As Kate Jerome, Laurie Metcalf was simply awesome, getting to the strength behind the Jewish mother stereotype. And newcomer Noah Robbins was remarkable as the teenage Eugene, so appealing and making Neil Simon's quips sound so natural.

Superior Donuts

Superior Donuts, a transfer from Chicago's Steppenwolf Theatre Company, has Tracy Letts' razor-sharp dialogue and memorable characters, along with a great deal of tenderness and wit. And for me, it was filled with emotion. Jon Michael Hill is amazing as Franco Wicks, an engaging young black man who comes to work in the downscale Chicago donut shop run by Michael McKean's Polish-American Arthur Przbyszewski. I was laughing, hard, at their banter but when Franco pulls out of his knapsack his Great American Novel, my eyes got moist. Stories about aspiring writers always get to me. Of all the shows on Broadway this fall that dealt with race, Superior Donuts was my favorite for the way it explores how we relate to each other as a community, as individuals, as Americans. Sadly, Superior Donuts is closing Jan. 3 at Broadway's Music Box Theatre but you've still got a couple of weeks to catch it.

The Norman Conquests

At the beginning of 2009, this trilogy by British playwright Alan Ayckbourn, which started at London's Old Vic Theatre, was nowhere on my radar. But then the reviews started coming in and they were so enthusiastic I thought well, it'll be an experience - a theatre marathon from 11:30 a.m. to 10:30 p.m., with breaks for lunch and dinner. The Norman Conquests turned out to be one of the best and most unique theatergoing experiences I've had. The six-member cast was superb. Even after three plays totaling about 7 hours I never got tired of watching such vivid, distinct characters interact in ways that were touching and hilarious. I loved them all but Stephen Mangan as Norman was my favorite. He played a character I was prepared to dislike but Mangan made him so sympathetic - even if he was an unscrupulous cad at times. It's a performance that I'll never forget.

I'd like some lyrics with my CD please

I picked up the new Broadway cast recording of Hair yesterday at Borders. It was on sale for $14.99 but I got it for free by using three of my Borders Rewards Visa coupons! (Okay, almost free. I had to pay $1.04.)

When I got home, I tore off the shrink wrap and started flipping through the booklet. Lots of pictures. Introductory essays from Diane Paulus, director of the Broadway revival; and Oskar Eustis, artistic director of the Public Theater. But sadly, no song lyrics.

Personally, I find the absence of lyrics a disturbing trend. I first noticed it when I bought the cast recording of Curtains, produced by Manhattan Records and EMI, and it was very disappointing.

Yeah I know, most people get their music from iTunes and just download the booklet and cover art. I did go to a Web site and print the Curtains lyrics but it wasn't the same. They were too big and bulky to fit in the CD case.

A lot of people listen to their music on the go - in the car or on the subway or exercising or whatever. And obviously, reading while driving is not a good idea. But occasionally, I do listen to a CD at home, on my CD player, and I like to follow along. I even like to prop the booklet up on the treadmill while I'm at the gym.

I know there's a cost factor and cast recordings are a niche market to begin with. If you've got a single CD, there's only so much you can pack into the booklet. And maybe some people would rather have the photos and essays. Don't get me wrong, I like them.

But after producing a terrific 2-CD cast recording of In the Heights, with lyrics, I just wish that Sh-K-Boom/Ghostlight could have accommodated them on the Hair CD, too.

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.

Not all seats are created equal

The higher up and farther back you go in a Broadway theatre, the cheaper the seats get. So what about if you're off to the side?

I sat in the right orchestra for all three shows I saw last weekend: God of Carnage, Hair and Rock of Ages. Most Broadway houses have a fairly cozy orchestra section so it's usually not a problem if I'm not in the dead center. But this time, I definitely felt like I was at a disadvantage.

For God of Carnage, at the Jacobs Theatre, I was fairly close but a few seats from end. There were a few moments where I couldn't see everything that was happening with James Gandolfini's character on the far right side of the stage. It was just outside of my sightline.

Same thing for Rock of Ages, at the Brooks Atkinson Theatre. I was farther back, three seats from the end. My view of the video projections on the back wall was partially blocked by the set.

I was about six rows from the stage for Hair, at the Hirschfeld Theatre, but one seat from the end. I don't remember missing any of the action onstage, although I wish I'd had a better view of the band.

Now, I'm not too steamed because I don't feel like where I was sitting interfered with how I felt about the shows. It was just frustrating not to be able to see everything. And I paid full price for my tickets to God of Carnage and Hair.

I know producer Ken Davenport has written about variable pricing for Broadway shows. And Steve on Broadway has written about poor sightlines in the orchestra at Studio 54.

Isn't time to admit that not all seats in the same row are created equal and offer a discount for the last two or three on the end?

Hair

Gratuitous Violins rating: **** out of ****

I knew there were going to be good vibes from the Broadway revival of Hair the moment I opened up my Playbill and those little white slips of paper fluttered out. Often that means disappointment - an understudy going on in place of a performer I really wanted to see.

This time, just the opposite happened. An actress I was really looking forward to seeing but who only had a small part, Saycon Sengbloh, was going to play a bigger role. In fact, as Dionne, she'd be opening the show, singing "Aquarius."

I was so excited and that bit of good fortune turned out to be only the beginning of an evening that I will never forget. I've seen so many wonderful shows over the past couple of years of theatergoing and this is one of the best - 2 1/2 hours of bliss that culminated in my Broadway debut.

First, there's the music, by Gerome Ragni, James Rado and Galt McDermot. I've always been hugely interested in the 1960s and I've always loved the music of Hair. Hearing - and watching - those songs performed live - wow, they sounded great. Sometimes, like on "Ain't Got No," the audience joined in and clapped along.

The original production of Hair opened at the Public Theater in 1967, then moved to Broadway a year later. When I watched the PBS documentary Broadway: The American Musical and saw the cast climbing over seats and interacting with the audience at the Biltmore Theatre, I wished I'd been able to see it then. It looked like so much fun.

Well, thanks to director Diane Paulus and choreographer Karole Armitage I got a sense of what that experience must have been like. This is one show where the actors don't simply break the fourth wall, they shatter it completely. They are everywhere in the mezzanine and orchestra of the Hirschfeld Theatre. And it is so much fun.

Hair tells the story of a tribe of hippies, led by a charismatic Will Swenson as Berger, living in New York City's East Village. Really, I enjoyed the whole cast - they are all so likeable, especially Gavin Creel's sweet and conflicted Claude, Bryce Ryness as the Mick Jagger-obsessed Woof and Caissie Levy as the privileged college student Sheila.

I can't even imagine how shocking Hair was in 1968 - and I'm not just talking about the nudity. The hippies are everything that must have outraged their Depression and World War II-era parents. They leave school and grow their hair long and use drugs and sing the praises of interracial love and question authority. Hovering ominously over it all for the young men is the draft and the Vietnam War.

Under Paulus' direction Hair truly evokes the spirit of the decade. The generation gap is on full display. This is funny, joyous musical but it also doesn't gloss over some of the decade's more powerful - and brutal moments.

Paulus saves her most stunning image for the end, which is slightly different from Ragni and Rado's book. But it's absolutely the right choice and it left me choked up. I don't think I'll listen to "The Flesh Failures/Let the Sun Shine In" the same way ever again.

Hair doesn't shy away from presenting a pretty strong criticism of American policy in Southeast Asia. I can't imagine a Broadway show - much less a musical - being so political today.

But this is far from a period piece. I think the message still resonates. Whether there's a draft or an all-volunteer Army, Hair reminds us that we should always exercise the utmost caution before sending American troops into harm's way.

The 1960s was a decade of convulsive change in American society. But it was also a time of celebration - when all sorts of barriers were being broken. Fittingly, Hair ends with the ultimate breaking of the barrier between audience and performer - an invitation to join the tribe onstage.

Despite my nerves, despite my fear that I'd look and feel foolish up there, I leaped at the chance. You know what - it didn't matter that I couldn't carry a tune and had no sense of rhythm. No one was judging me. It was a thrilling experience, an incredible adrenaline rush and it got even better when, to my surprise, Kevin joined me.

For a few moments, I was a member of the tribe. And for the rest of my life I'll be able to say that I did something I never thought I'd have the nerve to do, never thought I'd have a chance to do: I sang and danced on a Broadway stage. Now, where do I get my Equity card?

Back to Broadway

All right, soon I'll be off for my first trip to New York City of 2009. And to coincide with my visit, the city is closing Times Square to traffic. Boy, do I feel special!

Today, it's God of Carnage and Hair. I loved The Sopranos so I'm especially excited about seeing James Gandolfini on stage.

Hair has always been at the top of my list for 2009. I've loved the score for as long as I can remember and I've been interested (obsessed with) the history and culture of the 1960s for as long as I can remember.

On Monday night, I have a ticket for Rock of Ages, which I thought was funny and sweet when I saw the cast on Live with Regis and Kelly, and heard them on the Playbill Radio podcast. Now, I'm not sure.

But love it or hate it, I'll definitely have an opinion on it.

It's almost Hair!

Have I mentioned I'm going to see Hair on Broadway this weekend? Have I mentioned that I'm just a tiny bit excited?!

Here's Gavin Creel and the Tribe singing "Let the Sunshine In" at Sunday's rally for marriage equality in New York City, organized by Gavin and Broadway Impact.

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

Fun and games on Broadway

In preparation for my upcoming trips to New York I've been scouring Broadway show Web sites:

Coolest download: Virtual Zippo lighter app for your iPhone at Rock of Ages. (Because you can never be too ready for a power ballad.)

Dumbest game: "Shoot your boss," at 9 to 5. I know it fits with the plot and all but isn't it a tad in poor taste?

Best use of video: Vblog entries from the cast of Hair are fun. The Easter Bonnet competition featuring the cast of 33 Variations doesn't tell you much about the show but it's very witty. Shrek's 10-part online video series on bringing the musical to Broadway is the most interesting and provides reasons to keep coming back to the site.

Best marketing slogan playing off a line from a song: Hair - We got merch, brother!

Best e-cards: Shrek, with their funny takeoffs on other Broadway shows.

Most unfortunate video trend: Watching scenes from plays without the sound. You can see a montage from God of Carnage, you just can't hear the actors. Instead, they play some background music. What's the point? At least Exit the King gives you a few lines of dialog before the montage.

Best blog: It's hard to beat Jane Fonda at 33 Variations. Although, strangely, I couldn't find a link to it on the show's site.

But I wish the two queens from Mary Stuart had kept up their blogging. Here's a sample from Mary, Queen of Scots: "I am in rehearsals for my upcoming trial. I am training hard as I suspect it will all be physically hard to endure. I have discovered protein shakes and they are helping me."

A double DVR alert for musical fans

Tomorrow, CBS has not one but two segments for musical theatre fans!

First up, at 9 a.m., is Sunday Morning with a feature on the Broadway revival of Hair, which opened last week to terrific reviews at the Hirschfeld Theatre.

"The 1960s musical, Hair, was revolutionary theater for its time, taking on the Vietnam War, environmental destruction and poverty. CBS Evening News anchor Katie Couric speaks with the creators and cast of a Broadway revival that may seem tame by today's standards but still packs quite a punch."

Then at 7 p.m., 60 Minutes interviews Dolly Parton, who wrote the songs for the musical 9 to 5, which begins previews at Broadway's Marquis Theatre on Tuesday:

"Dolly Parton, the oh-so-country music superstar with the city-slicker sense of show business talks to Morley Safer about her childhood, her career and the Broadway production of her film, 9 to 5."

Here's a brief clip from the interview: (And football season's over, so you know it'll start on time!)

My Hair collection is growing

I'm really excited that the Broadway revival of Hair is getting a recording.

According to Playbill, the cast heads to the studio on April 6. There's no word yet when the Ghostlight CD will be released but apparently they're putting it on a fast track.

When it comes out, I will have five recordings of Hair. Here they are: the 1968 original Broadway cast, the 1970 Israeli recording in Hebrew, the 1979 movie soundtrack, the 2005 Actors' Fund benefit recording featuring an all-star cast of Broadway performers and the soon-to-be-released 2009 revival.

I hope that's not the actual cover art, though. Frankly, it's not very appealing. The original is a classic but I'm kind of partial to the Actors' Fund artwork.

I think that's the most I own of any musical. I have three versions of Sweeney Todd, three of Evita and two from lots of other shows - most of which I've acquired over the past two years. But five will definitely be a record!

Hair opens tomorrow night at the Hirschfeld Theatre. The original Broadway production opened on April 29, 1968. In his review for the New York Times, Clive Barnes alluded to some of the more controversial aspects of the musical:

"Since I have had a number of letters from people who have seen previews asking me to warn readers, and, in the urbanely quaint words of one correspondent, "Spell out what is happening on stage," this I had better do. Well, almost, for spell it out I cannot, for this remains a family newspaper. However, a great many four-letter words, such as "love," are used very freely."

A new age of Aquarius

It's finally Hair! (I know, that was pretty lame. But I couldn't resist.)

The Broadway revival of the American Tribal Love Rock Musical begins previews tonight at the Hirschfeld Theatre, on the heels of a widely praised production in Central Park last summer. Opening night is March 31.

Earlier in the week, the cast performed for group ticket brokers. You can watch "Aquarius" here. You can also listen to four songs from the show: "Aquarius," "Hair," "Let the Sunshine In" and "Good Morning Starshine."

Even though the musical is more than 40 years old and its hippy, trippy, anti-Vietnam War, free love message might seem a little dated, the producers are clearly doing their best to tap into the current zeitgeist:

"Just in time to usher in the dawning of a new age in America, the Public Theater's joyous production of Hair comes to Broadway. A celebration of life, a love letter to freedom, and a passionate cry for hope and change, Hair features some of the greatest songs ever written for the stage."

Hope and change? That's so 2008!

And maybe some of the greatest songs ever written for the stage is a bit of hyperbole but I do love the score by Gerome Ragni, James Rado and Galt MacDermot. I don't know the lyrics to many songs by heart but I probably know more of the words to the songs in Hair than any other musical:

When the moon is in the seventh house
and Jupiter aligns with Mars
then peace will guide the planets
and love will steer the stars.
This is the dawning of the Age of Aquarius.

I wrote that from memory, honest. Singing along from the audience is frowned upon, right? No, I don't have my ticket yet but hope is what it's all about.

Cast of Hair grows longer

Another day, another snowstorm. I might as well be living in Syracuse again, the city that once proudly proclaimed "We're snow king!" Okay, it's not quite that bad. But I do need some good news to cheer me up and keep me thinking about spring.

The producers of Hair have been announcing new cast members for the Broadway revival every day this week. I have to admit that I've never heard of most of them but today's list includes a familiar name: Saycon Sengbloh. I saw Sengbloh as Celie in The Color Purple, when she went on as an understudy for Fantasia. It can't be easy to go on stage in place of a performer you know most people have come to see, but I thought she was wonderful. Her transformation over the course of the musical was absorbing to watch and so moving.

She'll be reprising her role from this summer's production of Hair in Central Park, an event that I could kick myself for missing. She'll play Abraham Lincoln, be part of the White Boys Trio and a member of the tribe.

All of Sengbloh's Broadway credits thus far have replacement or understudy or standby next to them. So I'm glad this gracious and talented actress will be part of a Broadway show's original cast for the first time. (Okay, I know it's a revival, but you know what I mean!)

I'm already excited about Hair because I love the songs and I love the 1960s but this is another reason to look forward to a trip to Broadway in the spring. The musical begins previews March 6 at the Al Hirschfeld Theatre and opens March 31.

Reading, watching, listening

I always like to check out the weekly list of upcoming theatre-related book, cd and dvd releases on Talkin Broadway. Here's some of what I'd like to be listening to, watching and reading:

Defying Gravity: The Creative Career of Stephen Schwartz from Godspell to Wicked: Wow, that's a pretty long title. Now granted, I'd probably just skip ahead to the section on Wicked, but according to the publisher, author Carol de Giere spent 80 hours interviewing the composer and talked to more than 100 of his colleagues friends and family. The 544-page biography reveals "never-before-told-stories and explores both Schwartz's phenomenal hits and expensive flops." Available now.

The Grapes of Wrath: I don't anything about composer Ricky Ian Gordon, but I've been a big John Steinbeck fan since high school. My favorite work of his is actually the nonfiction account of his 1960 trip across America, Travels with Charley. Still, I'm curious about Gordon's opera version of Steinbeck's Depression-era novel The Grapes of Wrath. This 3-cd set was recorded last year with the Minnesota Opera. Available now.

Radio City Christmas Spectacular: I took a tour of Radio City Music Hall last year and it was great. Unfortunately, because a show was going on, we didn't actually get to go into the auditorium. So until I can see those high-kicking Rockettes in person, this may be the next best thing. This 90-minute dvd features last year's 75th anniversary production, including the reportedly spectacular Parade of the Wooden Soldiers. Release date: Nov. 4.

In Spite of Myself: A Memoir: I loved Julie Andrews' memoir, Home, and now her Sound of Music costar, Christopher Plummer, is weighing in with a 656-page autobiography. The early reviews sound good. Publisher's Weekly calls the book “An enchanting observer of the showbiz cavalcade, drawing vivid thumbnails of everyone from Laurence Olivier to Lenny Bruce and tossing off witty anecdotes like the most effortless ad libs. The result - a sparkling star turn from a born raconteur for whom all the world is indeed a stage.” Release date: Nov. 4.

The Gospel at Colonus: Since seeing The Dreams of Antigone last week, I'm on kind of a Greek tragedy kick. The Gospel at Colonus is a retelling of Sophocles' play Oedipus at Colonus through the medium of modern gospel music. This is the 9o-minute filmed version of a 1985 Philadelphia performance and features Morgan Freeman as a Pentecostal preacher and The Blind Boys of Alabama, collectively, as Oedipus. Release date: Nov. 18.

13: Even if I don't get to see Jason Robert Brown's new musical, I'll still pick up the original Broadway cast recording. I don't feel compelled to buy the cd of every new musical, especially if I've never seen it. But I enjoy Brown's music - whether I've seen the show, like Parade, or whether I haven't, like The Last 5 Years - and this is the kind of catchy pop score that's usually right up my alley. Release date: Nov. 25.

Hair: Let the Sun Shine In: If I could travel back in time to see the original Broadway production of a musical, Hair would definitely be high on my list. Maybe it's not so shocking today, but I can only imagine what it was like to see it 40 years ago. This 55-minute documentary, which also includes an hour of bonus footage, "conveys a portrait of an era, a generation and its politics." Release date Dec. 9.

Passing Strange: The Complete Book and Lyrics of the Broadway Musical: Stew won the Tony award for Best Book of a Musical for writing Passing Strange and I can understand why. The dialog was smart, witty and memorable. I'm curious to see how his words hold up when I read them rather than listen to them. Release date: January 15.

The A to Z of me

Modern Fabulousity did this meme first, and then Steve on Broadway. They were both interesting and fun to read, so I figured I'd add my 2 cents. Without further ado, here are the ABCs of Gratuitous Violins:

A - Age: Approximately two months younger than Kevin Spacey - if he's telling the truth about his age.
B - Band listening to right now: Original Broadway cast recording of Hairspray. What can I say? I just can't stop the beat.
C - Career future: Hopefully, to continue having a career.
D - Dad’s name: Herbert.
E - Easiest person to talk to: Steve, of course!
F - Favorite type of shoe: Mizuno running shoes. I'm breaking in a new pair right now. While I don't run, I do walk a lot, and I overpronate. Mizuno shoes have a thick, sturdy sole and they're very comfy.
G – Grapes or Grapefruit: Grapefruit, definitely. White, not pink, with a sprinkling of sugar.
H – Hometown: Providence, Rhode Island. But my spiritual home is Manhattan.
I – Instrumental talent: Uploading songs to my iPod. That's really my only musical talent.
J – Juice of choice: Orange, with or without pulp.
K – Koala Bear or Panda Bear: Koalas are cute, but there's something about pandas. Plus, I've never seen a koala, but I saw a panda once, at the National Zoo in Washington, D.C., and it was adorable. I remember it was sitting up straight, just like a little furry person.
L - Longest car ride ever: Providence to Syracuse, N.Y. (I'm obviously not one for long car rides).
M – Middle name: Iris.
N - Number of jobs you’ve had: 11. Including: Babysitter (I'm a girl after all), library aide, jewelry factory piecework, assistant in the public affairs office of an agency of the Defense Department, selling newspaper subscriptions over the telephone, work/study in the history department in college, news editor in college, yearbook editor in college, English teacher in an elementary school in Israel, reporter, copy editor. Best: Current job. Worst: Tie between jewelry piecework and selling newspaper subscriptions over the phone.
O - OCD traits: Reading over my blog posts to check for typos.
P - Phobias: Heights, although I'm fine in airplanes. Also, mice. I'm not afraid of them in the abstract, only in the concrete.
Q - Quote: "Someday we'll look back on this and it will all seem funny," from "Rosalita," by Bruce Springsteen
R - Reason to smile: My first trip to Broadway in 2008 is coming up next month!
S - Song you sang last: "Manchester, England" from Hair.
T - Time you wake up: 7.5 to 8 hours after I go to sleep.
U - Unknown fact about me: I'm physically incapable of snapping my fingers. I can't carry a tune, either. I'm not sure about this, but the two things might be related. I guess I'll never get cast in West Side Story.
V - Vegetable you hate: Peas. Although lima beans would be a close second.
W - Worst habit: Checking my statcounter to see how many more hits I have now than I did five minutes ago.
X - X-rays you’ve had: Teeth, foot, little toe, ankle. But there have been some occasions when I've thought I should have my head examined.
Y - Yummiest food my belly likes: Mmmm, carbs.
Z - Zodiac sign: Taurus.