The Craptacular: Remedial Queens: Five Broadway Lessons From My Mom

Originally published on The Craptacular.

remedial queens mom

On December 29, 2013, my mom, Lois Levy, passed away at age 67. (Read my eulogy for her.) In her memory, I’d like to offer a different kind of Broadway history: a short history of the Broadway lessons my mother left me.

Nothing Says I Love You Like A Showtune

Like most mothers, my mom loved to sing to me when I was little. Her favorite? “I love you / a bushel and a peck…” It wasn’t until years later that I realized the song that she sang over and over again to tell me she loved me was originally written as a strip tease number for Guys and Dolls. (If you think the “hot box girls” are supposed to be anything else, you’re deluding yourself.) Luckily, I seem to have avoided any long-term psychological baggage from making this connection.

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Eulogy for My Mother

Delivered at Stanetsky’s Funeral Home, Canton, MA, January 2, 2014.

I sat down to do the impossible, to try to put into a few words what my mother means to me, my family, and to all of us here. And I came up with fifteen hundred words about her commitment to family, her joy at being part of so many communities, and her fierce and fearless embrace of life with all it has to offer. But when I looked at what I wrote, it just felt so generic. Where was the mom who dressed up as Sonny Bono while I dressed up as Cher to perform “I’ve Got You Babe” at a USY lip sync competition? Or the mom who, into my thirties, would read menus out loud to me to make sure there were things I could eat at whatever restaurant we were at? Where was the mom who, after ten years devoting all of her free time to USY dropped everything and missed what would have been her final Spring Convention so she could sleep on my cousin Karen’s couch and help her family when Chad was born? Where was the mom who faced down the school board so my high school graduation wouldn’t fall on Shabbat, or the mom who didn’t leave my side for four weeks when I was hospitalized at age ten with an enigmatic GI disease, never letting me know for a minute how terrified she was?  Continue reading

The Craptacular: Remedial Queens: The Making Of Chronicles

Originally published on The Craptacular.

The Making-Of Chronicles

I’m not sure when gift cards became a controversial gift (are they lazy? are they thoughtless?) because frankly, I think they’re the actual best. Seriously. The only thing better than money, is money that comes with the explicit designation that it can only be used for a particular kind of frivolity. When I was younger, gift cards meant one thing: cast album binge! But as I’ve matured (and acquired a Spotify Premium account), I find myself more and more drawn to filling my bookshelves (and my Kindle library) with books about our collective favorite obsession: Broadway musicals.

Actually, there is a particular sub-genre of books about Broadway that I love most, and that’s the Making-Of Chronicle. (This should come to no surprise, given that you are currently reading a column I write about the history of Broadway musicals.) Like a good Behind the Music episode, the best of these manage to break through the necessary conventions of the form to bring to life the dramas behind the drama and the personalities that gave birth to the shows we love – or occasionally, the shows we love to hate.

Right now, the Making-Of Chronicle spotted most frequently on the subway is Glen Berger’s Song of Spider-Man. Certainly, Spider-Man: Turn Off the Dark has all the elements of a great making-of story: huge personalities, high stakes, and a disastrous journey from idea to opening night. I haven’t seen any version of the Spider-Man musical, but I will admit that reading the book makes me want to try to catch it before it closes on January 4th. Berger, the show’s book writer, acknowledges from the start that he can’t really create any sort of distance from the events he documents, and you may find his editorializing and finger-pointing exciting or exasperating, depending on your tolerance for that sort of thing.

But if you’re like me (or aspire to be), you’re probably more interested in Chronicles of shows long gone than documents of disasters still running (however fleetingly) on Broadway. So here’s five suggestions to add to your Amazon Wish List today, so you can order them with your gift cards on Christmas morning. I can’t claim to have read every “Making-Of” book. Hell, I can’t even claim to have read every “Making-Of” book currently sitting on my bookshelves… or even on this list. But these are the five (plus one honorable mention) that spring to mind first when the subject comes up, and you won’t go wrong starting with any one of them. Continue reading

The Craptacular: Remedial Queens: Who Will Love Side Show As It Am?

Originally published on The Craptacular.

Every so often, a show that flops hard on Broadway leaves in its aftermath a corps of fans devoted to keeping its memory alive. With shows like Candide, Merrily We Roll Along, Carrie, and countless others, these vocal proponents ensure that while the show may have closed quickly, they will not be forgotten. In the case of the most beloved of these shows, including the three I just named, their fans go so far as to spend countless hours “fixing” them, figuring out how to solve the problems that caused the shows to flop in the first place. When this works, the shows can go on to great acclaim: Hal Prince’s revision of Candide ran for years in the mid-70s, Michael Grandage’s London production of Merrily We Roll Along won the Olivier Award for Best Musical, and Carrie‘s recent off-Broadway return spawned a series of regional productions which will surely give way to high school, college, and community theater productions for years to come.

The latest cult musical to get this fan-fueled revisal treatment? Why, Side Show, of course. Continue reading

The Craptacular: Remedial Queens: The Five “Bs” of Bob Fosse

Originally published on The Craptacular.

Even though Bob Fosse’s been dead longer than many of our readers have been alive, I can’t imagine that anyone here doesn’t have at least a passing familiarity with his work. After all, two of his signature shows (Pippin and Chicago) are currently running on Broadway, each in a hit revival received even more enthusiastically than the original. And what do those revivals have in common? Both took great pains to create choreography “in the style of Bob Fosse,” including recreating Fosse’s own steps for big numbers in each – “The Manson Trio” (the dance break in “Glory”) in Pippin and “Hot Honey Rag” in Chicago. With no disrespect to the other great choreographers of Broadway, while original dances from De Mille, Robbins, and Bennett have been recreated, no one else created a style so recognizable and enviable that people today still strive to work (and market their work as) “in the style of” anyone other than Fosse.

Given Fosse’s enduring popularity and fascinating personal life—more on that in a sec—I predict that Sam Wasson’s excellent new biography will be as in demand as Pippin tickets. The 700-page opus takes us from Fosse’s funeral back to his childhood dancing in the slimiest burlesque houses Chicago had to offer, through the romances and bromances of the showman who made history as the first (and still only) to win the best director Oscar, Tony, and Emmy awards all within a year. Continue reading

Jewschool: Making the Stars of David Sing

Originally published on Jewschool.com

Stars of David: Prominent Jews Talk About Being Jewish debuted in 2005 and has been a perennial bar mitzvah gift ever since. The book, which features interviews by Abigail Pogrebin with about five dozen celebrities about their Jewish identities, is now an off-Broadway musical. Pogrebin is no stranger to the musical stage; she chronicled her experience as an original cast member of the infamous Stephen Sondheim flop Merrily We Roll Along in her 2011 Kindle Single Showstopper. This morning I chatted with her about the experience of writing Stars of David, both book and musical, and how her evolving Jewish identity has shaped the project.

In the introduction to the book, she discusses that part of the impetus for the project was that Jewish identity had crept up on her. She was married to a Jewish man, had two children approaching the ages when they might want to know something about what being Jewish meant, and she realized that she didn’t have an answer to that question. “I wasn’t necessarily honest with myself about why I started the book in the sense that I didn’t know how at sea I was, in terms of my own Jewish identity, when I approached famous people,” Pogrebin said. “I think sometimes stories are generated by some subconscious impulse to understand something for yourself. And I don’t want to over-analyze my motivations in starting the book, but I would say that having these frank conversations with some of our highest achievers made me look much more candidly at myself, and I realized I hadn’t answered a lot of the questions I was asking, personally.”

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The Craptacular: Remedial Queens: Smile

Originally published on The Craptacular.

When I moved to New York in February, I was thrilled to learn that one of the most notorious flops in Broadway history, Moose Murders, would be receiving its first New York revival off-off-Broadway. I excitedly bought my ticket and headed down to Alphabet City (OMG just like in Rent!) to the theater, which looked a little like the rec hall at the Sharon Community Center where I made my community theater debut as the Munchkin Coroner in a suburban Massachusetts production of The Wizard of Oz when I was seven years old. Before I left the theater, I tweeted:

All of this serves as a preamble to today’s column, which is about my trip last week to see another notorious ’80s-era flop, Smile, which just concluded a run off-off-Broadway in a concert staging by the Musicals Tonight company. There are, at most, five reasons why anyone cares about Smile nearly thirty years after it played Broadway for just over a month: Continue reading

Fuck Yeah Stephen Sondheim: When I Was In The Fifth Grade…

Originally published on Fuck Yeah Stephen Sondheim.

Click on images to enlarge.

Letter to Sondheim 1991

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Letter to Sondheim 1991_0002

Letter to Sondheim 1991_0003

sondheim june 1991_NEW

When I was in the fifth grade, I found Stephen Sondheim’s home address in a reference book at the public library. This armed me with all I needed to begin a years-long correspondence with my hero. While I have kept most of his letters to me, I believe this is the only letter to him that survives. It was written when I was 13, several years into this project of mine.

Looking back, I am so embarrassed but also a little bit charmed by my 13-year-old self. And of course, Steve’s response is perfect, treating me with consideration and taking me seriously on my own terms. (Of course, I don’t remember writing songs, definitely never started the theater company, and very quickly purchased the albums in question. And 20+ years later I finally got my hands on the songs from A Pray by Blecht.)

The Craptacular: Remedial Queens: The REAL Curse of the Bambino

Originally published on The Craptacular.

So from what I understand, there are these things called sports which are like musicals in that the performers rehearse for a long time and then perform in front of an audience but unlike musicals they don’t have production numbers and you never know the end until you get there, which I guess is like The Mystery of Edwin Drood but with less sparkly costumes. And apparently one of those sports is called baseball, which you may be familiar with from its supporting role in Damn Yankees.

Okay, okay, I’m kidding, I was totally forced to play a year of Little League before I was old enough to self-advocate for theater camp, and also I live in the world, so I know all about baseball and could even debate the wisdom of the designated hitter rule if it would keep a cute boy talking to me a bit longer.

“Why is this relevant?” I hear you cry. Continue reading

The Craptacular: Remedial Queens: One Touch of Venus

Originally published on The Craptacular.

A couple of weeks ago, you may have felt a disturbance in The (Broadway) Force — the sound of a thousand queens suddenly squealing with a mixture of delight and disbelief. The momentous occasion? The long-delayed complete recording of One Touch of Venus was finally released on iTunes, a mere fourteen years after it was first announced.

Did you feel that? This time I’m pretty sure the disturbance is the sound of several thousand Craptacular readers asking “What the fuck is One Touch of Venus?Continue reading