What Gives a Girl Power and Punch? It's HAIRSPRAY LIVE!

UPDATE: First things first, I would like to apologize for the lateness of this post.  With both work and Christmas Traditions, I had difficulty finding the time to really sit and let the broadcast ruminate in my head.  However, I just took the time to watch the re-airing on NBC, and I believe I am now able to assess the show fairly

Hairspray holds a special place in my heart. I've had the pleasure to work on it twice, and have seen it multiple times.  When done well, Hairspray can be a non-stop evening of musical theatre excellence.  When done poorly, it is still a shitload of fun.  By this rationale, Hairspray Live could do little to no wrong in my eyes.  However, to me, this may have been one of the worst executed live broadcasts in the past several years.

As I already mentioned, I am a fan of Hairspray.  Long before the musical was ever written, I was a fan of the original John Waters film from 1988.  Ricki Lake as Tracey and Divine as Edna introduced me to the whacked out world of Waters, and my eventual love for the film/musical Cry-Baby.  I distinctly remember seeing the first national tour, starring Bruce Vilanch as Edna.  The energy coming off that stage could have powered the entire Fox on its own.

When NBC announced Hairspray, my biggest concern was that they do the stage show.  While the 2007 film had some amazing elements, it fell flat to me.  Bringing in Mr. Harvey Fierstein to adapt the script for NBC was potentially the smartest decision the producers could make, after casting him as Edna, of course.  Things could only go up from there, right?  WRONG!

Things I Disliked

•  Ariana Grande was positive shit as Penny Pingleton.  Honest to God, her casting was the one I was most apprehensive about, and I was justified in my thoughts.  Penny is the epitome of the dorky best friend, not some sexed up mumbler who overacts.  Even Grande's vocals seemed subpar at times.  Instead of saving the vocal pyrotechnics for the latter part of the show, Grande sang in her normal voice the entire time.  She was never Penny; instead, it was Ariana Grande in glasses.  For real Pennies, please watch the following video: https://youtu.be/VTO_Duist34
• I feel like a lot of issues could have been fixed had the direction been better.  Kenny Leon directed The Wiz Live last year, and it was incredibly well done.  I expected something along the same lines, and was pretty much disappointed.  A lot of my issues concerning performances really come down to things that Leon should have noticed.  

Things I'm On The Fence About

•  Garrett Clayton as Link Larkin.  He was a very competent Link Larkin, but nothing ever wowed me.  His performance was reminiscent of tapioca pudding: perfectly fine, but nothing exciting (unless of course you like tapioca pudding).
•  Kristen Chenoweth was good in spurts.  I just got very tired of all the high soprano business.  I'm perfectly aware she has the notes and the talent to back it up, but she didn't need to pull them out for every single one of her solo numbers.

 Things I Enjoyed

• Maddie Baillio
• Ephraim Sykes
• Andrea Martin, Sean Hayes, Paul Vogt, Rosie O'Donnell
• Derek Hough
• Dove Cameron
• Martin Short
• Jennifer Hudson
• Harvey Fierstein 

Overall, I enjoyed Hairspray Live, but I do not think it was a step forward with these live broadcasts.  NBC seems to have an issue trying to define what the broadcasts should be.  The Wiz Live was a step in the right direction, and I think they took a step back this year.  There were far too many errors, and a lot of the final product was downright sloppy at times. 

Catching Everyone Up/Research

Time to give this blogging thing another shot, since I only seem to do it when I'm in a New Line show (otherwise my life isn't so eventful)

Rehearsals started last week for my newest theatrical endeavor, Bonnie & Clyde the Musical at New Line.  Much like my past three New Line shows, I will be portraying multiple characters in the ensemble*, and, much like Bukowsical, I'll be portraying real characters again.  Personally, I find this quite challenging, and I relish in it.  It just means I get to spend time in the library doing research, trying to find out as much as I can about the gentlemen I am depicting.  I really haven't had a big chance to do research with New Line, but that, of course, is my own fault.  I was too nervous I'd mess something up during Evita, Cry-Baby never really seemed right for proper research (The Whiffles were living in this musical comedy world, so I had issues gauging just how grounded I could be without sacrificing that John Waters vibe), and I spent most of Bukowsical reading all of Bukowski's poetry novels and Burrough's works just so I could make sense of whatever we were putting on that stage.

However, this show is going to be another Women of Lockerbie for me.  For my (few) readers that may not understand the reference, I had the privilege (it really was) to appear in The Women of Lockerbie this past February.  The play concerns the survivors and parents of those that passed during the Pan Am 103 bombing from 1988.  I spent the entire month of January enmeshed in accident reports, interview footage, documentaries, and articles about the bombing itself and about dealing with loss and grief of a loved one.  It was difficult for me to break out of the funk that the show put me in every night; it was such a heavy subject matter, and I essentially was on stage the entire show.

I'm prepared to enter that realm again with Bonnie & Clyde, and I've already immersed myself in research.  I spend the majority of the show as Deputy Bud Russell.  While Bud Russell was a real lawman during the 30's and had several run-ins with Clyde, I am 99.9% sure that the writers only used his name for the show.  There are no real similarities between "Uncle" Bud Russell and Deputy Bud Russell besides name.  "Uncle" Bud Russell (the person) was the chief transit officer for the Texas State Prison System, meaning he spent his entire career delivering 115,000 men and women to serve their sentences in his "One-Way Wagon."

Uncle Bud with his "One-Way Wagon"

 The "One-Way Wagon" is what I find most interesting about this man.  Bud made it himself, welding the sides up with grating and adding an extremely thick door to the back with two solid locks.  Riding in the back of this had to be a nightmare during the bright summer days in Texas: almost no protection from the elements, and all the prisoners were changed to one another at the neck.  It had to be a nightmare back then.

Best part? When Clyde Barrow was arrested in 1930, he wrote several letters to Bonnie Parker admitting his apprehension of ever meeting Bud Russell.  That is how feared the man was.  Bud also proved to outlive both Bonnie and Clyde; Bud didn't pass away until February 2, 1955.

Uncle Bud's Obituary

I'm still in the process of watching some History Channel documentaries and reading several books about Bonnie and Clyde, including Blanch Barrow's memoir of her years with the Barrow Gang.  More information in the future, and have a good night.

StrawPun

*I never really thought about it, but every show I've done has had me playing several different parts

1. Evita: Audience Member, Eva's Brother, Resident of Buenos Aires, Military Official, Secret Police Officer
2. Cry-Baby: Bradley (Whiffle), Terrence (Drape), Hugh (Prisoner)
3. Bukowsical: William S. Burroughs, A Lawyer, Swifty Lazar, Norman Mailer, Sean Penn
4. Bonnie & Clyde: Deputy Bud Russell, Archie (A Customer)

We have a good thing goin'

Sorry it's been so long since my last update. A lot has been going on that I need to catch you up on.

Anyhow, we finished blocking the show last week, and so far, have attempted our first run-thru.  Not my most shining moment, but I actually believe it went pretty well.  It also helped that we were able to move into the theatre a little bit earlier than originally anticipated. The only things I'm having problems with right now are just hearing some of my harmonies and the marathon that is "The Chase" (for those coming to see the show, there is a chance you will be winded watching it cause I'll be winded about halfway through).

This past weekend, though, was a lot of fun just for the fact that the set is in place.  I have to say that I love building the set of a show that I'm cast in.  I find it helps me to connect a bit more to each scene, knowing the effort put forth to create that flat or platform, grounding the entire process.

In addition, we had publicity photos this past Tuesday.  Much fun was had by all (I hope...I don't want to lie on the interwebs), and everyone looked smashing in their costumes.  The creepiest thing was when I got home after rehearsal, and was looking in my closet, I swear to God that I found the same exact shirt Amy brought in for me, except in a different color.  Mind Blown!

This show is coming together in such a wonderful fashion, I find it hard to believe that we open in less than two weeks. It has been such an amazing and difficult experience bringing new life to this show that just didn't have a chance to shine in New York.  I think that this is the production John Water's and the creative team really wanted instead of the Hairspray-esque version that made its way to Broadway.  This is a down and dirty show that has no qualms of telling the audience "up yours", though we never actually say a bad word in the show (ass doesn't count because it could just mean we need to pay close attention to our load-bearing, canyon exploring little friends).

So, things to be aware of when you come see the show:
1. If you have never played with a baton before, it can be harder than one might imagine.  Right, Taylor?
2. If there is a death, orgy, funeral, or just something that might be slightly fucked up, it's a New Line show.
3. Please keep the aisles clear so we may debauch ourselves all over the place.
4. Though it might not say it in the program, Mr. Dupree W. Dupree named the Drapes that the Whiffles play. 
5. It's really fun to say "whiffle".   Say it with me now..."whiffle"
6. Ass Chords, Racist Monkeys, and Wagons Full of Wet Kittens are all real things that need to be controlled and worried about.

Til next time, stay nifty.

Who ya been lovin' since I been gone?

Good Day Everyone!  I hope that everyone who reads this is doing well.


I realize that it's been a while since I last posted.  Every time I've tried, something has come up.  Therefore, here I am now, and I have a lot to catch ya up on.


We have finished blocking the entire first act as of last night, and let me just say...this show is going to rock and/or roll the entire evening.  Everyone sounds amazing, and seeing the designs for the set has made this whole experience even more real for me.  I'm going to be the second person ever to play the bass Whiffle (he doesn't have a name in the script, but you can call me Brad).  As we block and rehearse each scene, everyone is bringing their own little tweaks and perks to the material.  We are essentially creating a new(ish) work the minute we step out on the stage, and I wish I could just watch it happen.  Happily, though, I am a part of it. :D  


A few of my favorite bits about this show (so far)
     5. Ryan and Taylor killing it every time they do "I'm Infected"
     4. Ari singing "Jukebox Jamboree".  He hits it, rubs some funk on it, then hits it again.  
     3. Singing that awesome doo-wop background to "Girl, Can I Kiss You?"  Still my favorite song to sing in the entire show.
     2. The Teardrops...period.  I honestly think they are going to stop the show several times in the first act alone.
     1. Being a Whiffle.  That's the simplest way to put it.  It's been a long while since I sang some honest-to-goodness 4-part harmonies.  This is what I was raised on; what made me want to join St. Matthias Choir (and be the only boy for the longest time); what made my 4 years at DeSmet worth it: being able to sing barbershop/doo-wop/4-part anything.  It's my destiny, much like Lenora is Cry-Baby's destiny.
     .5. Terrie singing "Screw Loose"/just being Lenora.  She's that good.


As I said before, my Whiffle name is Bradley.  That's not all though.  My prisoner name is Hugh, and my Drape name is Terrence (many thanks to Dupree for the name).  More on this to come.


Along with the blocking rehearsals, Robin has been teaching us some killer choreography.  I know for a fact that it nearly killed me the first time...'ahem'... Bad joke aside, I haven't danced this hard in the longest time.  I would greatly advise everyone to invest in Bayer aspirin til the end of March.  Their stock might be rising some.  After watching myself in the mirror, and some of the dance videos, I don't know how the hell my body is doing some of the things it's doing, fucked up knees and all.  (For those that haven't noticed it before, my natural stance is first/second position.  I like to think I'm a little duck-footed).  Now all that needs to be done is to practice til the cows come home.

Well, I must get going, so I leave you with my new favorite rockabilly song.  Have a great night.

PS: I thought of this earlier last week, but Terrie put this song on her blog earlier, reminding me of it.  One of the all-time great doo-wop songs from the 50's. First, what Terrie posted

This is what the Squares would listen to.  Perfectly acceptable in its own way.  Now the next version, the original version from 1954 by the Chords.  I believe this would be the Drape version.  Your thoughts?

 

Bum Bum Bum Bum...

We finished learning all of the songs this past Tuesday; therefore, it's time for the read-thru.  I have never been more excited for a read-thru than this one.  It's amazing how well the cast envelops the story through the music, but I can't wait to see and hear how we handle the actual text of the show.

Update: After having the read-thru last night, I am so friggin' excited for this show now.  Everyone sounded great, and I know the minute we start blocking, we are going to be in business. 

On the personal side, however, I'm already having some problems, mainly with knowing this music.  There is an awful lot of it, which isn't the problem.  I'm really just not used to having to sing bass.  I mean, I was singing first tenor from 2002 to May 2010.  Evita with New Line was the first time I had ever actually sung Bass/Baritone, and that was difficult enough.  The good thing there was that Eeyan and Aaron were down there with me, so if I couldn't hear it I just had to search for their voices to get back on track.  I still have problems reading bass clef but it's gotten better.  I'm just worried I'm going to eff up the Whiffle stuff.  From what I've been able to tell, I'm anchoring a majority of the chords, so that adds a little more pressure.  The thing is being the only person down on that part.  Oh well, just means that I have to practice more on my own.  Practice makes Permanent, so I just need to know the music even better than I normally do.  

Allison (Elizabeth Stanley) and the Whiffles led by Baldwin Blandish (Christopher J. Hanke)

While I've been working on the music, I've been doing a lot of research into the original movie, production, and just the time period we are depicting.  I thought I knew a lot about the fifties, but there is so much more that I need to look into.  I mean, I can listen to all the oldies and doo-wop I want, but when you start looking at the years some of those songs were coming out, they came out after 1954 (when Cry-Baby takes place).  It's almost like I need to ignore all the fifties music I know and love, and try and come at the show from a different angle.  The Squares are still in the Big Band mentality, almost.  They are the clean cut, probably listening to Glenn Miller, or Count Basie if they are feeling really adventurous.  The Whiffles are almost worse, going back to the barbershop quartet music from the turn of the century.  Meanwhile the Drapes draw inspiration from the rhythm and blues coming down South.  This is the kind of music that would be played underground, in the flop houses and hole-in-the-wall bars found down on Beale Street in Memphis, or at Sam Phillips' Sun Records. 

Well, I gotta get going, so thanks for reading, and don't forget your Anti-Polio shot.

 

Here We Go Again.

First things first. I has been a long time since I last posted here (well over a year). So much has happened in that time. I started grad school, have been working with theatres around town, and just trying to live each day as it comes. Now that we are caught up, I must start the topic at hand...

Cry-Baby the Musical!!!!!

Rehearsals started early this week for New Line Theatre's production of John Water's Cry-Baby the Musical, of which I am happy and proud to be a member of the cast. This is going to be a fantastic experience, primarily due to the fact that we are the first production outside of the Broadway production. No one else has touched this show, so we are going to be bringing a whole new experience to a welcoming audience. Also, I am technically getting college credit for being in the show, so I'm glad to be sharing the wackiness that develops as well as the process of bringing this show to life.

Now, I'm no stranger to the kookiness that is John Waters. I have been a fan of Hairspray and Cry-Baby since I first saw them on television so many years ago, and now being able to do both in less than a year is even cooler. I still think I fit better in the fifties and sixties, hence the reason why my favorite musicals are Grease and Jersey Boys. Those were the years when rock and roll was created, perfected, and at the same time, destroyed. The fact that this entire genesis makes its way through the show gives me reason enough to enjoy this.

First Rehearsal
As I mentioned earlier, rehearsals started this week, and we have a hell of a show in our hands. Though I was sitting further back in the bass section, I was still amazed by the power and pure "raw"-ness coming from everyone involved. This is definitely not an easy score. In comparing it to the other John Waters' musical, Hairspray ranks as a 6.5 while Cry-Baby hits around a low 8 (for scale significance, I put Birdie at a 4.5 and Sunday in the Park with George at an 11).

The score wages kind of a battle between the lovely, though occasionally cheesy tunes of shows like Finian's Rainbow and Bye Bye Birdie to the pure rockabilly drive created by Sam Phillips and his Sun Record Label. Though I get to sing a little bit of everything throughout, I'm proud to be on the cheesy side, being a Whiffle, one of the harmony guys. I mean, this is the style I grew up on: The Four Lads, The Four Aces, The Lettermen. The Whiffles are the Baltimore version of The Plaids in Forever Plaid, and who can say anything bad about the Plaids?...please don't say anything bad about the Plaids, or else I may get pissy.

At the same time, I'm having so much fun singing these rock songs. I really can't wait until we get to I'm Infected and Girl, Can I Kiss You just because they serve kind of a midpoint. They have that four-part background with the more expressive lyrics, making those numbers almost doo-wop, in my opinion. And, really, if doo-wop is involved, I'm going to be singing somewhere.

Sadly, I must now go. So till next time, watch your ass.