Les Mis: From stage to screen

As a huge fan of the stage production of Les Miserables, I’ve been asked by many people for my thoughts on the new movie. I’ve seen the Broadway show at least a dozen times and my husband has probably seen it twice as many times, so we’re quite particular and notice every little detail.

Naturally I had to see Les Miserables as soon as it opened, and I’m relieved to be able to say that I’m generally pleased with the adaptation.

It’s challenging to see the movie when you know the stage version so well. I feared I would be easily distracted by minor changes, and at first I was. Thankfully, we meet Colm Wilkinson very early on and that relaxed me. Wilkinson, who originated the role of Jean Valjean in the West End and on Broadway, played the Bishop of Digne. This is usually a minor role, but somehow it felt more powerful with Wilkinson.

It’s interesting to me that they decided to go with Hollywood stars like Russell Crowe and Anne Hathaway for some of the main roles, yet opted for theater veterans Samantha Barks, Aaron Tveit, and Eddie Redmayne for others. (We’re lucky to get both in one with the amazing Hugh Jackman.) I do think I would have enjoyed the movie better had they gone exclusively with actors who performed on Broadway or the West End.

Jackman is a wonderful Jean Valjean, but Crowe just didn’t do it for me as Javert. He has a nice enough voice and looked the part, but the timbre of his voice was off-putting for me. Hathaway was better than I expected. She is very believable as the hopeless young Fantine, desperate to see that her beloved Cosette is cared for.

The movie makes good use of camera angles to zero in on the actors who are singing. We get a lot of close-ups and that ratchets up the level of emotion. You don’t really see as much of those facial expressions in the stage production, even when you have good seats.

A few of the songs are done out of order, and others are omitted entirely. I didn’t miss the ones that were left out, and while those done out of order still worked well, I still found it disconcerting because I was expecting a certain song at a certain time. The new song, Suddenly, didn't add anything for me.

One of the things I’ve always loved about Les Mis is that I can still notice new things each time I see it. For instance, when I saw the show for the first time on a high school field trip, I didn’t pick up on the reappearance of the candlesticks throughout.

The movie makes it a little easier for someone new to the story. The imagery of the candlesticks features far more prominently. There are also a few bits of dialogue added in to clarify what’s happening. Javert’s suicide is always a powerful scene on stage and was well done in the movie. The sewer scene, also staged beautifully, added an extra level of filth and desperation in the movie version.

I will always prefer the stage version of this and any show, but I still appreciate the movie for what it is. I love that movies like this can bring musical theater to a wider audience and I hope its popularity will encourage more movie musicals. Hey Wicked and In The Heights… I’m waiting.

Live music, take note

One of the best parts of summer are all of the concerts and we've been to some great ones this year. But even my recent outing to the amazing Paul McCartney show reminded me those who put on concerts still have a lot to learn from their counterparts in the theater world.

The best thing about live theater is that it's generally predictable. When you have tickets to an 8 p.m. show for theatrical performance, it begins at 8 p.m. When you have tickets to an 8 p.m. concert, you're lucky if the act you're there to see goes on at 9. First you have to sit through an opening act that few have heard of and even fewer enjoy. Then it's a waiting game as everyone checks their watch and makes guesses as to which 15 minute increment the artist will select to grace us.

In addition, when you go to the theater you know what songs you're going to hear, whether there will be an intermission, and you never have to sit through the charade that is the encore. I don't understand the need for encores anymore. You know the artist is going to do an encore. The artist knows he's going to do an encore. Cut the crap and don't waste our time feigning disbelief that we simply must have more. Finish with your big hit and call it a night.

Theater venues are usually must more comfortable places too. I know big stadium shows and other outdoor venues are considered the place to be for a real rock concert, but the shows I've enjoyed most are held in theaters. Give me a padded chair, clean bathrooms, and a temperature-controlled climate any day.

Concert-goers also have a lot to learn from their theater-going brethren when it comes to manners. When you go to a Broadway musical, you let the professionals do the singing. But when you go to a concert, there are inevitably drunk fans who sing along and usually loudly. When I pay upwards of $75 for a ticket to a show (and let's face it, it's usually far upwards) then I'm there to hear the performer, not the drunk frat boys behind me.

And yes, I understand that some songs scream for you to sing along with them, but not every song. By all means, feel free to belt out the lyrics to Piano Man, Hey Jude, or If I Had a Million Dollars. But please, oh please, keep your mouth closed when it's time for Yesterday.

I don't pretend to believe that all theater-goers are models of perfect decorum. I can't count the number of performances I've sat through where despite strict instructions to turn off cell phones, an errant ringtone inevitably disrupts an important moment. But, I've also never seen a group of theater-goers deboard a kegbus. It's just a different crowd.

Maybe I'm getting too old for concerts. And maybe that's a good thing because just about all of the artists I want to see are on their last legs anyhow. Thank goodness theater will always be around to keep me nice and cozy.

My selection show

It’s not just college basketball fans who get excited around this time of year. No, we theater fans wait our turns patiently too. We’re just as interested for our big announcement of who we’re going to see and when.

But my curiosity was satisfied at this morning’s announcement of the 2008-2009 season at Baltimore's Hippodrome Theater.

(Well, technically I had a pretty good idea about the lineup a few weeks back. A BroadwayWorld.com reader posted the list of shows on the Broadway board before it quickly disappeared. Then BroadwayAcrossAmerica.com, erring on the side of stupidity, accidentally posted the information last night.)

In any case, this morning unveiling made everything official. Here’s what the lineup looks like:

Legally Blonde the Musical -- Sept. 30-Oct. 12, 2008
Dr. Seuss' How the Grinch Stole Christmas! The musical -- Nov. 11-23, 2008
A Chorus Line -- Dec. 2-14, 2008
Chitty Chitty Bang Bang -- Jan. 6-18, 2009
Grease -- Feb. 3-15, 2009
A Bronx Tale -- April 14-26, 2009
Spring Awakening -- June 9-21, 2009

The Hippodrome people seem to be touting the 08-09 season as child-friendly, by including Grinch and Chitty Chitty Bang Bang. But, considering they selected a song from A Chorus Line with a refrain of "Tits and Ass" as one of the live songs at this morning's selection show, I’m not sure everyone got the memo.

On the whole, I’m pretty pleased about next season. Instead of there being three shows I really didn’t want to see like this year, next year there are only two. (Yep, you guess it. They're the child-oriented shows.)

There are a few glaring omissions from next season's lineup. No Jersey Boys. No Drowsy Chaperone. No Sweeney Todd. C'mon. Even Minneapolis got Jersey Boys.

Still, I am glad for what we do have.

I’m most excited about Legally Blonde and Spring Awakening which, you may remember, we went to see in New York about a year ago. Both are fresh, new musicals that appeal to my generation even though one is fun and light and the other is dark and depressing. Both have soundtracks that will stay stuck in your head for weeks at a time.

Chazz Palminteri’s A Bronx Tale should be a really good show too. Some of you may know the story from the 1993 movie version, starring Robert DeNiro, which Palminteri wrote. The stage version is a one-man show where Palminteri does 18 different characters.

I'm also looking forward to A Chorus Line which is a classic musical I've somehow missed so far. And Grease, while I'm not excited to see again, is okay and least has familiar music. But, more importantly, it's not Cirque Dreams.

My musical motivational mix

Every once in a while everyone needs a little motivation in life. Music can help.

So, because I'm dieting once again and need all the inspiration I can get, I've compiled my list of the Broadway songs that give me that little extra dose of encouragement.

Click each song title to hear a sample of the song. Let me know if you want me to burn you a copy of the CD.

1. Totally Fucked -- Spring Awakening
Key lyrics: "But you're fucked if you speak your mind; And you know, uh-huh, you will."

Okay, so this may seem like an odd choice to start off a set of music that's supposed to be motivational but allow me to explain. When you're feeling kinda crappy to begin with, it's important to laugh and this song never fails to crack me up. It also reminds me that voicing my opinion isn't, um, always the best way to go. Let's just say my mouth has been known to get me in trouble.

2. For Now -- Avenue Q
Key lyrics: "Except for death and paying taxes, everything in life is only for now."

As if singing (and fornicating) puppets aren't cheer-inducing enough, this finale from Avenue Q reminds us that everything in life -- the good and the bad -- is only temporary. So if you've got it good, count your blessings. And if you're in the dumps, like my grandmother always says, this too shall pass.

3. Schadenfreude -- Avenue Q
Key lyrics: "The world needs people like you and me who've been knocked around by fate. 'Cause when people see us, they don't want to be us, and that makes them feel great."

Another selection from Avenue Q, this one reminds us that you may have it bad but just look at everyone else. Happiness at the misfortune of others isn't a bad thing. The song gets bonus points for teaching me to spell a difficult German word. Actually, that's a lie. I still can't spell it.

4. Do You Hear the People Sing? -- Les Miserables
Key lyrics: "There is a life about to start when tomorrow comes."

This is the most rousing, join the cause, inspiring kind of song I know. We even played the instrumental version as the recessional for our wedding. It's just one of those songs that gets me all happy and hopeful, even if just about everyone who's on stage during this number dies pretty soon thereafter. I went back and forth on whether to add this to label this a motivational song but hey, it motivates me so here it is.

5. Astonishing -- Little Women
Key lyrics: "I may be small but I've got giant plans."

This song, the last one in Act I before intermission, is sung by Jo, one of the March sisters, as she leaves home to embark on her writing career. It really leaves you wanting more and reminds you that sometimes you have to step beyond your comfort zone to achieve your dreams.

6. So Much Better -- Legally Blonde
Key lyrics: "I am so much better than before."

This song is all about girl power. It's the Spice Girls meet Gloria Steinam. Again the last song before intermission, here we see Harvard law student Elle Woods realizing that she can succeed on her own and doesn't need a man, even a rich cute one, to make it in life.

7. Find Your Grail -- Spamalot
Key lyrics: "Life is really up to you, you must choose what to pursue."

In an otherwise fluffy and comical show, this song really stands out to me as something you can actually take seriously. Everyone has their own goal in life and it's up to you to figure out what it is and how to get there. And oh yeah -- always look on the bright side of life.

8. Defying Gravity -- Wicked
Key lyrics: "I'm through accepting limits, cause someone says they're so."

Another song strong on the girl power scale, it's no wonder so many young girls flock to a musical like Wicked. The primary message in this song, and in the musical itself, is that your outward appearance doesn't matter but rather it's how you treat others that determines your place in life.

9. You Can't Stop the Beat -- Hairspray
Key lyrics: "So if you don't like the way I look well, I just don't give a damn."

This, my final selection, is about being comfortable in your own skin and standing up for what is right, no matter what society says. Perhaps more importantly, it's also the best damn musical finale of all time. It leaves you singing as you leave the theater (both live and movie) and has an unshakable sound. Where else can you look at the road to racial integration with such fun and whimsy?

Well, that wraps up my motivational mix. It may be difficult to understand some of my choices without seeing all of these shows live. I guess sometimes you really have to know the context. For that reason, I strongly urge all of you to go see these Broadway shows. I've thoroughly enjoyed each and everyone of them.

A touch of Baltimore on the side

For the second time in less than a week I got to enjoy a slice of Hollywood while not straying too far from home. This time it was the Baltimore premiere of the new Hairspray movie, where I took my husband as part of his birthday week extravaganza.

The big highlight of the evening for me was the chance to meet John Waters, thus bringing to two the number of celebrities I’ve met who have made guest appearances on The Simpsons. (The first, in case you’re wondering, is Ron “Opie” Howard. His daughter went to my high school.)

Getting to see the movie with John Waters sitting just a few feet away was quite the thrill. I particularly enjoyed his brief, yet poignant, cameo in the opening sequence of the film. That scene alone is worth the price of admission.

Speaking of the price of admission, it wasn't cheap. At $150 a person, I was surprised to see quite the large number of children in attendance. Growing up, my father wouldn’t fork over the $4.50 it cost to see a regular movie, let alone pop for something like this.

But now that I'm a pseudo-adult, I can spend my money with reckless abandon if I so choose. Realizing that here in Baltimore we don't exactly have many chances like this, I absolutely had to indulge.

And it was that Baltimore atmosphere that really made the evening for us. Baltimore is not Hollywood and that's why I love it. People dressed in everything from t-shirts to tuxes. We even got to hang out with local baker-turned-celebrity Chef Duff and his Charm City Cakes crew, complete with their Hairspray-inspired cake pictured above. (Note the roaches included for authenticity.)

Now the film itself, interestingly enough, eliminated some of the Balto-centric details that made me fall in love the original story in the first place. Gone were the references to Essex Community College and the dangers of North Avenue. But I suppose that’s to be expected when putting together a movie meant to have such broad appeal. And one that's filmed in Toronto.

The movie's cast more than made up for any of the missing homages. In addition to adorable newcomer Nikki Blonsky as Tracy Turnblad and long-time star John Travolta appearing as her mom, I loved seeing the likes of Jerry Stiller, Allison Janney, and Christopher Walken in the film.

And while I personally never thought of John Waters and kids in the same sentence, I must admit that what the studio did by casting teen favorites like Zac Efron and Amanda Bynes is nothing short of genius. You already had the Broadway fans, John Waters devotees, and all of Baltimore on board, but this really sures up the 16-and-under crowd. Of course star power like John Travolta, Queen Latifah, and Michele Pfeiffer doesn’t exactly hurt things. (Is it bad, by the way, that I find John Travolta far more attractive than Zac Efron? I’m really showing my age, huh?)

I'll likely see the movie again in the near future. It won't be the same as watching it in the same theater with John Waters, Nikki Blonsky, Zac Efron, etc., but I know I'll be entertained just the same. Too bad there won't be free popcorn next time around.

Tony vs. Tony

On the evening of Sunday, June 10, there are two very important television events – The last episode of The Sopranos and the 2007 Tony Awards presentation. Both shows air simultaneously and I can’t decide which one deserves my live attention. It all comes down to Tony vs. Tony.

The Sopranos finale is a long time coming and I desperately need resolution to all of the issues that have been building up over the years. This is the first season we actually have HBO and I can watch the show in real-time, as opposed to catching up on Netflix. This episode is certainly something everyone is talking about the next morning.

But as much as I love the Sopranos, when you’re a huge Broadway fan like I am, you can’t just skip the Tonys. This year is especially interesting for me because I’ve seen more of the eligible shows than I have in any other year.

So let's discuss, starting with The Sopranos:

The writers have done a wonderful job so far in wrapping up this, the last season. I lost interest a bit last season but all of the imagery and symbolism is back. In the pilot we saw Tony out in the backyard at the grill. This season, we see Christopher out in his backyard doing the grilling for the family. Of course Tony still had plenty of advice for Christopher. And looking back on last night's episode, maybe Christopher would have been better off listening to Tony a bit more often.

Rich and I have been fans of the show since the first season. We even took a Sopranos tour a few years ago when we were up in the New York/Northern Jersey area. The tour took us around to the Soprano hotspots like Satriales and the Bada Bing. (The Bing is actually a strip club called Satin Dolls. Fun fact: The ATM inside dispenses $1 bills.)

But it's just a short drive up 95 from Sopranoland where we find Broadway -- such a magical place.

While the Tony nominations don’t come out until tomorrow morning, there’s a very good chance that Spring Awakening, a new coming-of-age musical based on the controversial 1891 Frank Wedekind play, could do very well. We saw this a few weeks ago and were completely enthralled.

Our seats for Spring Awakening could not have been better -- we were on the stage itself. The actors actually sat among us. We could see every bead of sweat and glob of saliva. When the cast took its final bow, we were right there on stage looking out over the standing ovation. There is no more amazing feeling for a theater fan than that.

In addition to Spring Awakening, we were also lucky enough to have great seats for the new musical, Legally Blonde, while it was still in previews. This show is so fun and I predict will make it big on Broadway. I’m counting down the days until the original cast recording is released in July.

And then there’s Les Miserables – the show Rich and I both adore. Between us, we’ve seen it at least 30 times. The revival opened in November and we’ve been to see it twice already.
Assuming these shows are nominated, the Tonys will feature performances from each of them.

I can't watch both shows live. I'm going to have to pick one and TiVo the other. It's just a matter of which one wins out.

To quote Avenue Q, which won the 2004 Tony Award for best musical: "Why does life have to be so hard?"

High school, a wedding, and menopause

It's been a full week now since the Hippodrome Theater announced its 2007-2008 season of shows so I've had enough time to mull it over and make some judgments.

Coming off an amazing lineup like this year which included crowd-pleasers like Wicked, I knew organizers would be hard-pressed to repeat such a success.

On my end, I'm happy enough. Here is the subscription lineup:

The Wedding Singer - Sept. 11-23, 2007
My Fair Lady - Nov. 6-18, 2007
Avenue Q - Dec. 11-18, 2007
Cirque Dreams - Jan. 22- Feb.3, 2008
High School Musical - Feb. 19- Mar. 2, 2008
Camelot - Mar. 25- Apr. 6, 2008
The Color Purple - Apr. 29- May 25, 2008

Personally, I'm absolutely thrilled about The Wedding Singer and Avenue Q. The former is the musical version of one of my favorite movies. We even had the first dance at our wedding to one of the songs. I didn't get a chance to see it during its short run on Broadway and I'm in love with the cast recording. Avenue Q is one of my all-time favorite shows. I'm so glad my family and friends will have an opportunity to see the show locally.

Now the rest of the shows? Well that's a different story. I'm okay with My Fair Lady which is a classic that I haven't yet seen, as well as The Color Purple, which I've heard good things about.

I'm far less enthused about Camelot. I can't quite explain why but I just lack any desire to see this show. It's probably fine but I can't get myself excited. Maybe I just got my fill of the Knights of the Roundtable with Spamalot.

Then there's Cirque Dreams. Rich and I actually saw this show in Atlantic City last year. They comp a lot of tickets for it. A take-off on Cirque De Soleil, the show is actually pretty entertaining but it belongs in a Vegas-like setting, not at the Hippodrome. If you do go, be careful about sitting on the left side near the front. There's a really creepy guy that stands there, covered in glitter, playing the violin. I don't think he blinks.

As for High School Musical, I have a secret confession to make. I really like it. Rich even took me to see High School Musical in Concert in D.C. a few months ago. HSM is this generation's Grease. Boy meets girl while on vacation and gosh, they wind up at the same school. Boy is seen as a tough guy while girl is the innocent/brainy type. Love blossoms. Spontaneous singing and dancing ensue. Groups that otherwise didn't get along are now "all in this together." The story is innocuous enough but the music is damn catchy. So if you can set aside the cheesiness and tween madness that accompanies the production, you might actually enjoy it.

In addition to the subscription series, there will also be two non-subscription shows: Hairspray (Oct. 16-21) and a six-month run of Menopause The Musical. I've already seen Hairspray three times so I doubt I'll go this time around. And as for Menopause, well I'll just avoid that like the plague that it is.

(Speaking of Menopause The Musical, is there anyone else that finds it highly annoying that the title doesn't contain a colon or em dash? I understand that menopause means no more periods but do you really have to abandon all punctuation? Sorry. It just really irritates me.)

So is this season perfect? Not quite. But there's enough there to keep me interested. Besides, I'm not about to give up our amazing seats. You can't get much better that Orchestra, row 3, on the aisle. We're perfectly positioned for quick runs to the bathroom.

It's up to you Hunt Valley, Hunt Valley

Let me begin by saying that we had an absolutely wonderful time in New York City last weekend. It was just the ride back that wasn't quite so nice.

As brilliantly depicted, at left, in an original Uncle Louis rendition, um, well, the Hunt Valley Motor Coach tour bus we were riding caught fire.

It happened soon after we pulled out of the Lincoln Tunnel, heading home. A bunch of drivers around us starting honking and pointing at the underside of the bus. The driver pulled over by the first off-ramp and said everybody had to get off because the bus was on fire. We could smell the smoke.

This is where the fun started. We were towards the back of the bus and a bunch of people ahead of us starting making a big deal about getting all of their shopping bags out. So we're standing there, the bus on fire, while a few women tried to get their Macy's bags together. I eventually convinced them to move their asses.

(There was one guy, by the way, who refused to get off the bus. He sat there until the police made him get off.)

So we stood on the side of the road while the fire department put out the fire. Then they loaded us back onto the bus and towed us to an overpass where we waited in the hot sun for another two hours until they could get another bus for us. One of the Secaucus police officers was kind enough to buy a case of water for the parched passengers. We eventually made it home sometime after 1 a.m.

But perhaps more upsetting than the actual incident is Hunt Valley's poor customer service in dealing with it. In short, they were nonplussed, offering a mere $20 in compensation per passenger. They acted as if it happens all the time.

Only a few days later did I learn that, apparently, it does happen all of the time. Three days after our trip, another illustrious piece of the Hunt Valley fleet, this one leaving St. Louis, caught fire.

My phone calls to Hunt Valley have gone unreturned and a letter is on its way to the bus company's owner. Being the frequent customers that we are, you'd think they'd want us to be happy.

So what will Hunt Valley do? Will the company do the right thing and offer each person a free trip? Will they pay back the kind police officer who bought us bottled water? Time will tell. And when it does, I'll tell you too.

Broadway in Baltimore, as it belongs

I woke up this morning to a very pleasant surprise. The list of shows for next year's Broadway in Baltimore series at the Hippodrome is out and for the first time, I'm actually excited about every single show. My Playbill holder runneth over!

Typically there are one or two shows each season (usually a play) that don't really pique my interest, but not this time. While musicals are still my favorite, I'm even looking forward to the plays (Twelve Angry Men and Doubt) that are on the schedule. I honestly believe the only way it could be better is if Les Miserables was included. And, considering the fact that Les Mis is no longer touring, I think we really lucked out.

In case you haven't seen it yet, here's the lineup:
The 25th Annual Putnam County Spelling Bee (Sept. 19-Oct. 1)
Twelve Angry Men (Oct. 24-Nov. 5)
Dirty Rotten Scoundrels (Nov. 21-Dec. 3)
Wicked (Jan. 24-Feb. 18)
Monty Python's Spamalot (March 6-18)
Sweet Charity (with Molly Ringwald)
Doubt (May 1-13)

In addition, there are three non-subscription shows also included:
Mamma Mia! (Aug. 29-Sept. 10, 2006); Altar Boyz (Nov. 7-12); and Annie (Dec. 12-17). We'll definitely go to Mamma Mia! (for the upmteenth time... I love it!) and Annie is a possibility as well.

So while I'm talking about great theater, here's my list of my favorite Broadway shows of all time.

1. Les Miserables (This story is timeless and I can listen to the music over and over. It really doesn't get any better than this.)
2. Mamma Mia! (While people complain that the plot is thin, I think the writers did a remarkable job creating a story out of a series of songs. I only wish Movin' Out had been done so well.)
3. The Life (This was a short-lived Broadway musical focused on Times Square prostitutes in the 1980s. The soundtrack is incredible.)
4. Fiddler on the Roof (This is the first Broadway musical I ever saw. From then on, I was hooked.)

Honorable mentions go to Hairspray, Oklahoma, Little Shop of Horrors, The Lion King, Evita, and Chicago, and to a lesser extent, The Producers, Joseph and the Amazing Technicolor Dreamcoat, the Sound of Music, Phanton of the Opera, and Music Man.

Feel free to respond and tell me your favorites.

Does my blog deserve a standing ovation?

I love live theater, especially Broadway musicals. And lucky for me, my husband loves them too so we go to several shows a year.

But there's a troubling trend in live theater: The standing ovation. Once reserved for the best of the best, it now appears that it's an expected conclusion to every show.

The scene plays out the same way every time. As the actors take their curtain call, a few assorted people in the audience rise to their feet. Then a few more and a few more after that. Before long, you too are forced to stand due to the peer pressure. (That, or appear to be an ungrateful theater-goer.) We're lucky enough to usually have pretty good seats to most of these shows so the pressure for us is even stronger. If we're not on our feet, the actors know it.

Tonight my husband treated me to surprise tickets to Beauty and the Beast. Earlier this week, we attended a performance of Joseph and the Amazing Technicolor Dreamcoat. Both shows were enjoyable I had a wonderful time. But I just don't think they were standing ovation-worthy. Still, both shows resulted in standing ovations.

The same way that a teacher who gives every kid in the class an 'A' minimizes the accomplishment of those who really deserve it, audiences that insist on giving an automatic standing ovation take away from those performances that are truly extraordinary.

So I urge my fellow theater-goers (or concert-goers for that matter) to take a stand and stay seated unless you feel a performance truly warrants it. Let's make the standing ovation something special again instead of just a perfunctory response.