Review: BROADWAY BOUND - PART SIX Is a Treasurer-Hunter's Dream

Like Alice, as she explored the increasingly weird wonders of Wonderland, I am tempted to say to myself: “Curiouser and curiouser!” as I am able to explore the real-life stories of why so many seemingly promising musicals never got to Broadway as intended.  It’s been a fascination fueled by reading about them in books, listening to CDs such as Lost in Boston and Lost Broadway. Host and historian Robert W. Schneider spearheaded two more projects: a podcast and concert series at 54 Below, both titled Broadway Bound: The Musicals That Never Came to Broadway.  The latest edition of the live B.B. was, as per usual, full of evidence that, even if a project might crash and burn, there can be things worth salvaging from the ashes.  In other words, the words and music of at least some songs are usually worth hearing on their own merits.  And those of us who are curious as to the reasons why a musical sputtered and puttered out can learn – from the spoken narrative – what went wrong.  (Financial problems?  Miscast actors?  Conflicts within the creative team?  Having the rights revoked?  Or did the bankable star Tommy Tune break his foot while dancing – which shut down Busker Alley?)      

Full of enthusiasm and terrific tantalizing terse tidbits, narrator sidekicks Robert W. Schneider and Charles Kirsch (who has his own theatre-centric podcast, “Backstage Babble”) co-hosted.  The packed info revealed in their back-and-forth commentaries on the 5th of March in this 6th edition was 7th heaven for mavens who think musical theatre is the 8th wonder of the world.  Their chemistry is complementary as they deliver scripted info and quips.  The tone is chatty and cheery, rather than dry lecture; the spoken appreciation of the performers is fond, rather than fawning.  

Also worth toasting is regular music director/pianist Michael Lavine, who led the evening’s only non-solo vocal number, “Fill ‘Er Up,” joining forces with three other men, amusingly raising their voices and their filled prop drinking glasses.  He spoke at some length about his friendship and working experience with the song’s lyricists, Betty Comden and Adolph Green.  The boozy number was from their own Broadway-bound Bonanza Bound, with music by Saul Chaplin, which closed on the road.  The aforementioned  Busker Alley (a subject of one of Mr. Schneider’s podcast’s deep dives that devote each full show to just one musical) was represented by “When Do I Get Mine?”  It was impressively handled with powerful vocals and grit by Nicole Weitzman.  She didn’t repeat history by breaking her foot, but was gallantly stepping in as a participant with just a day’s notice, we were told.

There were strong performers, with one number from each of the intriguing projects (13 in all).  Especially valued is the participation of those who, back in the day, were actually involved with these musicals that never quite had their day.  In the other cases, musical theatre performers were recruited, well suited to the material.  Lyricist Richard Maltby, Jr. spoke wryly about the love not shown to How Do You Do I Love You, a 1967 collaboration with composer David Shire (after other writers lost interest) that was about computer dating.  From its score, Jenny Lee Stern was LOL and LOF (Lots Of Fun) belting the self-assurance of “When He Marries Me,” a happy wedding of brash material and smash performance.  The presentation was all the more in context, cutely costumed in character with a glittery white wedding dress and bridal veil.  Composer of The Mambo Kings (movie and stage score), Carlos Franzetti, had some choice words about that project and original cast member Christiane Noll presented a striking and nuanced “Alone in the Dark.”  Diane Findlay, who’d been in the San Francisco cast of the musicalization of Tales of the City (which is set in that city), fearlessly charged into the sass and crass language of “Ride ’Em Hard.”  Instantly entrenched in reality-checked attitude, she got a huge burst of laughter with the very first irreverent line, and that was just the first of many such howls.  It would be called a “show-stopper” if it hadn’t been the finale. 

Other bravura turns came with Robbie Rozelle’s giant-voiced “Bring Me Giants” from a Cyrano musical, apron-clad savvy pro Mary Callanan working wonders with “Women’s Work” as Alice (not that curious Wonderland visitor, but the long-suffering wife in The Honeymooners), and Eric Michael Gillet’s vigorous and committed “Unfinished Business” from one version of the musicalization of The Apprenticeship of Duddy Kravitz.  Also contributing to the entertainment were: Amy Jo Jackson (with something from Going Hollywood); Eric Millegan (with a Marty moment); Jessica Threet (opening the show with a piece from Waiting for the Moon);  Mark William (an offering from Dilly); and Stuart Zagnit (a bit of William Finn’s The Royal Family of Broadway), plus Michael Lavine singing “drinking buddies” mentioned above —Bryan Austermann, Andrew Leggieri, and Sean Stephens. 

The Broadway Bound excavations are cause for celebrations —well worth the unearthing!

You can find Broadway Bound anywhere you get your podcasts.

For more information and to find out when the next live installation of Broadway Bound will be, follow Robert W. Schneider on Instagram.

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