In the Heights, under the sea

The talented Lin-Manuel Miranda is going in a new direction after the success of In the Heights. I thought he'd do something else for the stage while he worked on the movie version of the 2008 Tony winner for Best Musical. (And one of my favorite musicals of last year.)

But Miranda, who won the Tony for Best Score for In the Heights and portrayed bodega owner Unsavi until last month, has a new project. He's signed a deal with DreamWorks to develop an animated musical with Peter Barsocchini, screenwriter of Disney's popular High School Musical series.

The storyline is top secret - or maybe they don't have one yet - but there's a bit of a hint in this comment from Bill Damaschke, co president of production for DreamWorks Animation:

"At DreamWorks we want to figure out a way to do an animated musical in the way Jeffrey (Katzenberg) did at Disney in the '80s. That team found a way to make an animated musical. Our plan is to do something unique and really innovative. It's been a long time since there's been an animated musical that pushed the medium forward."

Hmmm, are we talking about 1989's The Little Mermaid for inspiration? Because the movie is very close to Miranda's heart. Last month he told the New York Post that composing a score for an animated film has always been a dream:

"I got Alan Menken's autograph when I was in fourth grade because I was obsessed with The Little Mermaid. His niece went to my school and I think the autograph actually says, 'To Lin, From Alan. Stop kissing Jenny's feet,' because I had been begging her. I couldn't get enough of those songs. I remember faking sick to get out of school so I could buy The Little Mermaid on VHS. I just rewinded the hell out of it."

Katey Lynch at Cinema Blend speculates that it's Miranda's "gift with lyrics that DreamWorks is probably interested in, and would translate perfectly to the screen."

She's got a point. I've listened to the Grammy-winning recording of In the Heights more than a few times. Sure, Miranda's rapping is fun and his mixing of different musical styles is imaginative. But what stuck with me are the songs that tell the stories of the Latino residents of this New York City neighborhood - where they grew up, what their lives are like, their dreams.

Coincidentally, among the recordings that In the Heights beat out to win the Grammy for Best Musical Show Album (they still call them albums) was the score that Menken, Glenn Slater and the late Howard Ashman wrote for The Little Mermaid.

Now that Shrek has whetted DreamWorks' appetite for Broadway musicals I'm thinking that whatever Miranda comes up with, eventually we'll see it on stage. And I'll be looking forward to it.

It's Miranda at the buzzer!

Just in case you missed it, here's Lin-Manuel Miranda, Tony-winning composer of 2008's Best Musical, In the Heights, ringing the opening bell (or pressing the buzzer that rings the bell) at the New York Stock Exchange this morning.

I think he looked terrific - very casual and confident. He was smiling and bouncing up and down, like he was having a great time, and he seemed to keep his finger on that buzzer for a loooong time! You can watch it here.

From the Heights to Wall Street

The honors just keep pouring in for In the Heights, the 2008 Tony winner for Best Musical.

On Wednesday morning, actor and composer Lin-Manuel Miranda will ring the opening bell at the New York Stock Exchange. (No word on whether he's composed a rap for the occasion). A live webcast will be available beginning at 9:29 a.m. (a minute before the event) on NYSE.com. I work at night, so I'm normally just getting up at at that time, but I'll be setting my alarm clock and my DVR!

Unfortunately, the honoree doesn't get to ring an actual bell. According to this article from Fast Company, you press a buzzer that rings a bell at 9:30 a.m. to officially start the trading day. The opening bell ceremony is broadcast on two dozen networks worldwide and reaches 110 million viewers a day. Here's some more of the history behind the bell-ringing.

I'm not sure whether this is an annual event, but it should be. I couldn't find anything on the NYSE Web site about whether the cast of Spring Awakening received the honor last year. But the stars of Jersey Boys were invited in 2005. Maybe there's an unwritten rule that your show has to be set in the tri-state area.

More Tony talk, Part I

I was catching up on the Playbill Radio podcasts while I was working out this morning and I wanted to share some of my favorite quotes from the Tony winners. I know I've said this before, but I'm incredibly happy for Deanna Dunagan and Rondi Reed. I have to admire Patti LuPone, and agree with Lin-Manuel Miranda. And hasn't Anna D. Shapiro just given the definition of a trouper?

"I'm the quintessential late bloomer in my career, I think, and that's been just a ball to experience and hopefully it's not over yet. ... New York has just given me a huge valentine in my career and in my life."
Rondi Reed
Best Featured Actress in a Play
August: Osage County

"The thing that happens on Broadway that you just don't get anywhere else is the enthusiastic reception. Theatergoers leap to their feet after our play, every single performance. They raise their hands over their heads, clapping and cheering. I've never had that happen. Thirty-four years in regional theatre - never."
Deanna Dunagan
Best Actress in a Play
August: Osage County

"Amy Morton is a machine. If she misses a show it's because someone amputated her leg and she's looking for it."
Anna D. Shapiro
Best Director of a Play
August: Osage County

As far as being on stage again, I said to my agent, I don't want to leave the season without knowing when I'm coming back. Because honestly, I'm older and I don't know how long my voice is going to last and I don't want to waste time. I'd rather be on stage and take advantage of theses vocal chords while they're still supple and alive."
Patti LuPone
Best Actress in a Musical
Gypsy

"My job is to write the best possible musical I can and tell the story as well as I know how. On the side, I would like to reintroduce popular music and theater music, which used to be friends a long time ago and I'd like them to be friends again."
Lin-Manuel Miranda
Best Score
In the Heights

He's a poet and he knows it

I think Lin-Manuel Miranda is my new bicycle. I'll admit that when I saw In the Heights, I was more drawn to college student Nina, played by Mandy Gonzalez, rather than to Miranda's Usnavi, the neighborhood bodega owner. While Usnavi is very funny, In the Heights just seemed to be more Nina's story than his.

But it was the 28-year-old Miranda's vision and tenacity that saw In the Heights through from a student production at Wesleyan University to off-Broadway to the 2008 Tony award for Best Musical. (He says only five notes remain from the original: In Wash-ing-tone Heights!) And Miranda definitely won my heart with his very witty acceptance speech on Sunday night, after winning the award for Best Score.

In every interview I've read or seen or heard he comes across as charming and down to earth and enthusiastic - like a kid who can't believe he's sitting at the adult table. Plus, he's so passionate - and eloquent - about his love for musical theatre. I really enjoyed this video of Miranda giving a tour of his dressing room at the Richard Rodgers Theatre, and then taking us onto the stage.

It can get pretty dull listening to award recipients recite a laundry list of thank-yous to their manager, agent and lawyer, but Miranda name-checked everyone while making me laugh. I've been known to write a bit of poetry myself from time to time, and I thought he did a terrific job. Simply reading the words doesn't do them justice, because the genius is in the delivery, so you can watch it here. What struck me listening to it again is how incredibly nervous he sounds, like he's just hoping he can get through it before he collapses from shock!

"I used to dream about this moment, now I'm in it!
Tell the conductor to hold the 'ton a minute
I'll start with Alex Lacamoire and Bill Sherman
Kevin McCollum, Jeffrey Seller and Jill Furman
Quiara for keeping the pages turning
Tommy Kail for keeping the engine burnin'
For bein' so discernin' through every all nighter
Dr. Herbert for tellin' me "you're a writer"
I have to thank Andy Blank for every spank
Matter fact thank John Bizetti for every drink
Thank the cast and crew for having each other's backs
I don't know about God but I believe in Chris Jackson
I don't know what else I got, I'm off the dome
I know I wrote a little show about home
Mr. Sondheim, look, I made a hat
Where there never was a hat!
It's a Latin hat at that!
Mom, Dad and Cita, I wrote a play,
Y'all came to every play
Thanks for being here today
Vanessa who still makes me breathless
Thanks for lovin' me when I was broke and makin' breakfast
And with that, I want to thank all my Latino people
This is for Abuela Risa in Puerto Rico
Thank you."
—Lin-Manuel Miranda, Best Score, In the Heights

Miranda mentioned in an interview after he won his Tony that he's been talking to Dreamworks about writing some music for animated films. He also said that he has a couple of ideas for musicals, but he hasn't secured the rights for them yet. I'm kind of intrigued by that last part. What could he be securing the rights to? I certainly don't want to pigeonhole Miranda as writing only about Latino subjects, but I loved the 1987 movie La Bamba, and I think the life of Ritchie Valens would make an excellent subject for a musical.

I was happy to read about another project - contributing music for a new production in San Diego of the extremely short-lived 1978 Broadway musical Working. Besides Miranda's involvement, I'm interested in this for a couple of other reasons: I met Studs Terkel, the legendary Chicago author of Working, when I was in college, and he signed my copy of the book. Plus, the show was adapted by Wicked composer Stephen Schwartz, and he's one of my personal musical theatre gods.

Between Miranda's success, and that of August: Osage County playwright Tracy Letts, I feel like I've discovered two great new voices in American musical theatre and drama, and I'm excited to see what they'll do in the future. (Ok, I know Letts isn't exactly a new kid on the block, but he's new to me).

My Tony thoughts

Whew, the Tony awards are over! Lots of observations:

Whoppi Goldberg is funny! I'm so happy for Rondi Reed! I love In the Heights! Lin-Manuel Miranda is one classy, talented guy! Patti LuPone is one fierce Mama Rose! Tracy Letts should have been given more time to talk! Paulo Szot is tall! During the musical number for Sunday in the Park with George, I think I saw Daniel Evans' tonsils! Stew has a weird sense of humor!

And a few questions:

What was Boeing Boeing's Mark Rylance talking about in his acceptance speech for Best Actor in a Play? What does Anna Shapiro, who won for best director of a play for August: Osage County, have tattooed on her arm? Why didn't Stephen Sondheim show up to accept his lifetime achievement award? I understand why there's lots of love for musicals, and that was terrific, but couldn't there be a little more love for the plays?

In the Heights was my pick for Best Musical, so I'm ecstatic that it won, and I thought its musical number, "96,000,'' sounded great. I admired and respected Passing Strange but I loved In the Heights. It won my heart and made me want to dance, despite the sad fact that I was apparently born without a sense of rhythm. This is a musical that has a great message in its celebration of a Latino neighborhood at the top of Manhattan: we're a nation of immigrants, and we're better for it.

Plus, Lin-Manuel Miranda's acceptance speech in the form of a rap, when he won the Tony for Best Score for In the Heights, was terrific. And his reference to Stephen Sondheim was so sweet: “Look, Mr. Sondheim, I made a hat where there never was a hat and it’s a Latin hat at that.” Very nice. I hope Miranda stays in musical theatre. The funny thing is, I heard him during the red carpet interviews. He really doesn't talk like a rapper all the time.

Other highlights for me:

I'm thrilled that as expected, the Steppenwolf Theatre Company's production of August: Osage County won for Best Play, Best Director, Best Actress in a Play and Best Featured Actress in a Play. And Todd Rosenthal, winning for Best Scenic Design of a Play, on the Tony preshow, started it all off. Seeing that big old three-story house was the first time I ever had an immediate, visceral reaction to a set on a stage. I was just fascinated by it, by the size and the clutter and the shabbiness, and I'm so happy Rosenthal won.

Rondi Reed winning for Best Featured Actress in a Play was the one I was really, really rooting for, because she's such a wonderful person as well as a great performer. Steve, Doug and I talked to her for at least half an hour after August: Osage County ended one night. She is a warm, funny, gracious, down-to-earth woman. And she is an absolute hoot in this play. (Unfortunately, Sunday was her last performance. She's headed back to Chicago).

The success of August: Osage County, a transplant from Chicago, is truly a testament to the great work being done on stages all over this country. Being on Broadway and winning a Tony must seem like a pipe dream to these actors who toil far from New York. August's Deanna Dunagan, who won for Best Actress in a Play, summed it up perfectly: "After 34 years in regional theater I never even thought about it. I watched it on tv like everyone else."

Hearing from the original cast from Rent was so moving, especially when they were talking about Jonathan Larson and how he came to write the musical at a time when so many people he knew were dying of AIDS, and then his own untimely death. It was cute to see Idina Menzel and her husband, Taye Diggs, who met while they were in Rent, right next to each other. And even though I saw The Lion King, with its incredible parade of animals, on Broadway a month ago, the giraffes are just as thrilling the second time around.

I loved Patti LuPone singing "Everything's Coming Up Roses" from Gypsy. Her standing ovation was well deserved. She is fierce. Laura Benanti and Boyd Gaines looked terrified! They also really deserved their Tonys for Best Featured Actress and Actor in a Musical. I've said before that Benanti gave one of the best performances I've ever seen as she transformed from a shy, awkward teenager into a glamorous, confident stripper.

And LuPone, the Best Actress in a Musical, did have a great acceptance speech: "It's been 29 years!" Let the woman talk! I also liked the way she thanked her husband and son right off the bat, instead of going through her list of agents, producers, etc. So many winners at these awards shows end up having to shout out the names of their loved ones just as the music starts up.

Also, I was glad to see The 39 Steps pick up a couple of Tonys: Mic Pool won for Best Sound Design of a Play, and Kevin Adams won for Best Lighting Design of a Play. It is such a fun, inspired 90 minutes of theatre, and I hope the awards give it a little bounce.

There were a few spots where I thought the Tony producers slipped up.

When Lincoln Center's Andre Bishop accepted the Tony for Best Revival of a Musical for South Pacific, the camera should have been ready to turn immediately to Rodgers & Hammerstein's daughters, who were sitting together in the audience, not 20 seconds after Bishop mentioned their names.

Playwright Tracy Letts should have been given a little more time to accept his Tony for writing August: Osage County. I mean, how often do we get a major new American play on the scale of this one? (Perhaps he should have gotten a little assertiveness training from Patti!)

And the segment where they had Daniel Breaker, James Snyder and Kerry Butler do the little spiel about all of the American Theater Wing's educational programs mentioned the Wing's radio shows but failed to mention that they're available as free downloads from its web site, or as podcasts from iTunes. In fact, why not flash the Web site on the screen? Duh! Missed opportunity!

And what's up with taking the Tony for best choreography out of the televised portion of the ceremony? How can the Tonys not recognize the winner of that category on national television? I mean, so much of Broadway is musicals and choreography is such an important part of why we love them. Anyway, I'm glad that Andy Blankenbuehler won for In the Heights.

Apparently, some of the nominees were surprised that their categories were in the preshow, too. Passing Strange's Stew, who won the Tony for Best Book of a Musical, said he was looking in his pocket for some M&Ms when his name was announced. His speech was lame, so maybe he's serious when he says he was unprepared. And Stew turned me off with the funny nose and glasses he wore when they showed the nominees for Best Actor in a Musical. Ugh.

Ok, I may have more to say later, but that's enough for now. Except that I'm glad some of my favorites: In the Heights, South Pacific, Gypsy and August: Osage County did so well and I'm thrilled I was able to see so many amazing Tony-winning performances. I hope I get to see as many next season.

The music of their lives

I'm marking a very big circle around June 3 on my calendar - the date the two-disc original Broadway cast recording of In the Heights will be released. There's an interesting Playbill Radio podcast, taped at the recording session for In the Heights. It made me even more excited to listen to the music again.

What struck me was hearing producer Jeffrey Seller, actor and composer Lin-Manuel Miranda and actress Mandy Gonzalez, who plays Nina, talk about the cast albums they loved growing up. The music - West Side Story, Camelot, Les Miserables, A Chorus Line, Rent, to name a few - had a big impact on their lives.

While I wasn't a huge musical theatre fan as a teenager, I did have a few cast albums and soundtracks: Cabaret, 1776, A Chorus Line, Camelot, Oliver! (Don't laugh. I think I saw the movie when I was 9, and I loved it!) and Hair. I've still got all of them. Except for Hair, I'm pretty sure I started listening to them only after I saw the movie, or in the case of A Chorus Line, on stage in Boston when I was in college.

But for Sellers, Miranda and Gonzalez, the cast albums were their introduction to the shows. They listened to the music long before they saw the musicals on stage. Some of them, they may never have seen, or they may only have seen the movie version. That's one of the things I also found most interesting about The Drowsy Chaperone. Its narrator, Man in Chair, is in love with a musical he's only experienced through a cast album handed down from his mother.

Here's some of what they said:

"When I was growing up in Oak Park, Michigan, my first exposure to shows like A Chorus Line, Evita, Sweeney Todd were through the cast albums. I fell in love with those shows through the cast albums. And then if I was lucky I finally got to see those shows on Broadway. So a cast album is the the first line of attack for more than half of our audiences. It's only a small number of people that actually get to see a Broadway show in the theater in which it was born."
Jeffrey Seller

"One of the reasons they [his parents] realized they fell in love was they were comparing record collections and they both had Man of La Mancha and they both had Camelot. My dad saw Man of La Mancha in Puerto Rico and it was an English-language production and he remembers not understanding much of it, but when "The Impossible Dream" came on, just being reduced to tears. So I saw the effect that had on them at a very young age. I think it's probably one of the reasons I'm in this field is I saw how much theatre music can really move people."
Lin-Manuel Miranda

"This is my first original cast album and I'm so excited. When I came to New York I always said I want to be on Broadway and I want to be on an original cast album. Because my whole life I've listened to cast albums over and over and over again. So many different cast albums have had such a different effect on different parts of my life. to feel like somebody might do that with this and feel that way with one of my songs is just thrilling. So I can't believe it."
Mandy Gonzalez