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.

Catching up with Jan Maxwell

One of the many pleasures of taking in The Royal Family on Broadway was being introduced to Jan Maxwell. I'd never seen the Tony-nominated actress but I'd heard great things about her - and she was terrific as the daughter in a famous 1920s theatrical family.

So to catch up on Maxwell's career, I listened to an interview from last fall with the American Theatre Wing's Downstage Center program. It's always interesting to hear performers talk about where they're from and how they got their start in the business.

In Maxwell's case, she grew up in West Fargo, North Dakota, the daughter of a lawyer (and later a judge) who was also a theatre lover, an amateur actor and a playwright. She's also the sister of experimental theatre director and playwright Richard Maxwell.

And a fun piece of trivia: Maxwell got her Equity card after being cast as the understudy for the role of Lily St. Regis in a bus-and-truck tour of Annie.

Since I made my first visit to Minneapolis' Guthrie Theater last year, and I wrote yesterday about the play that changed my life, I especially liked this quote:

"When I was 16 we took a field trip to the Guthrie and I saw Tennessee Williams' Streetcar and it was pretty much a life-changing event for me."

The Royal Family

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

It would be perfectly understandable if The Royal Family showed its age. After all the play, by George S. Kaufman and Edna Ferber, made its Broadway debut 82 years ago, in 1927. The story is based on the Barrymore clan and the only Barrymore I know is Drew.

Well, the Manhattan Theatre Club revival of this three-act play is anything but a musty period piece. As directed by Doug Hughes, The Royal Family, at the Friedman Theatre, feels immensely witty and fresh.

What a lively, stylish homage to the 1920s. John Lee Beatty's opulent Manhattan apartment and Catherine Zuber's glamorous costumes richly evoke the decade. I sat in the front row - a first for me - and I laughed, a lot. I know some reviewers felt it started out slowly but I enjoyed myself from beginning to end.

Rosemary Harris, best known these days as Aunt May in the Spider-Man movies, is so warm and regal as matriarch Fanny Cavendish. Trouper that she is, she's determined to go back on the road again after recovering from an illness.

As her daughter Julie, a Broadway star in her own right, Jan Maxwell is superb. She's trying to cope with all of the crises that erupt in this family of theatre actors, as well as dealing with some of her own mixed feelings about continuing on the stage. When it all finally becomes too much, Maxwell is amazing to watch.

I loved the supporting cast, too, including: Kelli Barrett as Julie's daughter Gwen, who wants to quit the business and get married; John Glover and Ana Gasteyer as Fanny's brother and sister-in-law, desperately trying to revive their fading careers; Tony Roberts, a favorite of mine since Annie Hall, as the family's put-upon agent.

And Reg Rogers is perfect as Tony Cavendish, the womanizing, spendthrift son who's turned his back on the stage for - horrors - Hollywood and the movies. Luckily for us, he returns to the family hearth when things don't quite work out as planned. Rogers plays this role to the hilt, including some terrific swordplay. He's hilarious and I loved every moment of his performance.

For all the deliciously witty parts of The Royal Family, there are some thoughtful ones, too.

I loved the passion for their craft, the dedication and pride that comes through when these characters talk about the theatre. As much as they try to get away from the stage, as ambivalent as they sometimes feel, it's clearly in their blood.

The Manhattan Theatre Club calls The Royal Family "a valentine to the theatre." And it is - a funny valentine, a touching one, too. I certainly gained some insight into what it's like to be part of a family business when that business is show.

A bravo for Tony Roberts

I want to send out a heartfelt bravo to Tony Roberts, who was back in The Royal Family for opening night Thursday at Broadway's Friedman Theatre, four days after suffering a minor seizure onstage.

I'm sure Roberts must have felt a little nervous about being in the same place where he fell ill, but he's a trouper and an inspiration. I'm so glad he's doing well and able to return to something he loves so much.

It would have been completely understandable if the 69-year-old actor had taken a week off after a scare like that, or even left the show altogether. But according to The New York Times, Roberts is back for the duration of the Manhattan Theatre Club production, which runs through Nov. 29.

Lynne Meadow, MTC's artistic director, told the Times, “It was pretty amazing to have him back so quickly, and the audience’s response to him and to the production were ecstatic. It was one of the great opening nights in the theater that I ever attended.”

Of course I know Roberts from his movie roles - Annie Hall is one of my all-time favorite films. He's one of the reasons I'm excited about the Broadway revival of this 1927 play about a theatrical clan.

And even more exciting - I'm seeing The Royal Family on Oct. 22. Did you know that happens to be Roberts' 70th birthday? I just hope it's not a night he decides to take off!

My Broadway dance card is full

The hotel reservation has been made, the tickets have been purchased and in just a few weeks I'll be making my 2009-2010 Broadway debut!

Here's the lineup: The Royal Family, Brighton Beach Memoirs, Finian's Rainbow, A Steady Rain, Superior Donuts and Ragtime.

Four were no-brainers. I had Brighton Beach Memoirs, A Steady Rain, Superior Donuts and Ragtime on my must-see list. But the other two were more of a toss-up.

I picked The Royal Family, about a 1920s theatrical clan based on the Barrymores, when enthusiastic reports started coming in from friends who'd seen the play.

I was also excited about seeing Tony Roberts, since Annie Hall is one of my favorite movies. Roberts has been out since suffered a minor seizure onstage Sunday. But thankfully, he's feeling great and looking forward to returning.

The last slot was tougher. I wanted to finally see Wicked on Broadway, especially with Tony winner Rondi Reed playing Madame Morrible. But I was afraid the seats wouldn't be that great and there are always so many tempting new shows.

So, I went with Finian's Rainbow despite the fact that my fellow bloggers were split over the concert version presented by Encores in March. Why did I decide to give the musical a shot? The cast was a big part of it.

I've seen two of the actors before, Kate Baldwin in the Huntington Theatre Company's She Loves Me and Christopher Fitzgerald on Broadway in Young Frankenstein, and I loved them both. Two others, Tony winner Jim Norton and Cheyenne Jackson, I want to see.

Plus, since Finian's Rainbow will be in previews, I took advantage of a discount at Playbill and got an orchestra seat for $55. You can't beat that!