Is the Buzz about '[title of show]' Justified? Yes!!

 

What show in New York/>/> can you hear Tony winner, Victoria Clark, three-time Tony nominee Marin Mazzie, Emily Skinner ("Side Show"), Kerry Butler ("Hairspray" and "Little Shop") and Amy Spanger ("The Wedding Singer)?  You can HEAR them all via an answering machine which is used as a clever device in the acclaimed off-Broadway musical hit "[title of show"]. The answering machine is a tool to bridge different scenes in the musical about the making of a musical at the Vineyard Theater.

 

The Vineyard has a long history of producing great theater that is reflected on the posters in the lobby: "Lady Day at the Emerson Bar and Grill", "How I Learned to Drive", "Fully Committed", "Three Tall Women", and "Avenue Q".  It was one of the producers of "Avenue Q", Kevin McCollum, who saw the potential of the musical at the 2004 New York Musical Theatre Festival and partnered with the Vineyard to bring the show to life.

 

The idea for the piece took place in a New York/>/> apartment. The play opens on a spare stage with two chairs. We meet co-creators Hunter Bell (book) and Jeff Bowen (music and lyrics) who are contemplating entering the very first New York Musical Theatre Festival.  The problem is what would their musical be about.  It doesn't take long before they decide to write a musical about what it's like to write a musical. So while they admit that EVERYTHING they talk about could BE in the musical, they get to be careful how about giving out their correct phone number and address when ordering take-out.

 

Joining the two collaborators are two talented women performers, Susan Blackwell and Heidi Blickenstaff, who are friends of Bell/>/> and Bowen. Providing the keyboard accompaniment on the rear of the stage is Larry Pressgrove.

 

While there is little doubt there is much that will only be understood by theater aficionados and theater blog watchers, the gist of the show will be appreciated by everyone.  What is the creative process like you wonder?  You can't do better than this.

 

And the answering machine? This was used during blackouts between scenes for terrific comedic effect. The writers believed if they could get Broadway stars to perform in their "show", it would be much more believable as a legitimate work. So, having tremendous chutzpah, they just called the aforementioned talent (with the help of Director and choreographer Michael Berresse) and the answering machine records their "thanks, but no thanks" responses.  (I recommend Robert Simonson's April 16, 2006/> New York Times column entitled "At the Tone, Please Leave a Divalike Message").

 

One of the funniest numbers in the show is "Monkeys and Playbills" where they reminisce about the plethora of shows that died a quick death, i.e. "Oh Kay!", "Band in Berlin/>/>" (which regrettably I witnessed), "Carrie", and "Mother Earth".  A surprise on this list is Sondheim's "Merrily We Roll Along".

 

It's not until the song "Filling out the Form" that we learn how the title comes about.

The four performers are having difficulty finding a name for their project, they hesitate filling out part of the festival application which asks for the "title of the show". This is when they come up with the brilliant idea that they'll call it "[title of show]".

 

Throughout the play there are theater references. Unless you live in New York/>/>, it is unlikely you will recognize the name of Roma Torre, a theater correspondent on New York/>/> 1 television. However, you may recognize references made about Tim Gunn of "Project Runway" and the popular "Talkin' Broadway" website.

 

I had the pleasure of interviewing Bell/>/> who was still so excited and surprised about the success of their work. I asked where the Playbills were found in the musical number "Monkeys and Playbills". He stated that most of them belonged to Bowen and some were bought off ebay.

 

The two met in Virginia Beach about ten years ago at the Commonwealth Musical Stage where they did "Good News" together and they've been friends ever since. They also collaborated at P.S. 122.  But they never imagined they would win the inaugural New York Music Festival (log onto www.nymf.org).  He was quick to mention two other successes that started this same way, "Altar Boyz" and "The Great American Trailer Park Musical".  He applauded the Artistic Director of the Vineyard, Doug Aibel for the opportunity to perform at the historic location.

 

He wanted to make sure to mention the keyboard playing of Larry Pressgrove. They met at Webster/> University/>/> in St. Louis/>/> and they performed together there and at the St. Louis Rep. Theater. Pressgrove has been the music director for "Cats" and "Les Miserables".

 

Bell/>/> credits Director Biresse, a friend, who saw the piece even before the NYMF, and told them he had some ideas. Since they had no director at the time, Biresse (who you may have seen in "A Light in the Piazza" and will be the latest Zach this fall on Broadway in "A Chorus Line") came on board and according to Bell/>/> their secret weapon was "his thumb prints".

 

He freely admits to being thrilled and excited about the Charles Isherwood review in the New York Times (February 27, 2006/>). His quote "An absolute must!" is used in their advertising. But he is not alone. The New Yorker says "…will leave you in stitches" and Time Out New York/>/> opines "An irrepressible musical. Don't Miss".

 

I concur. For tickets, call 212-353-0303 or go to www.vineyardtheatre.org.

 

For you Baltimore/>/> readers, another Carver/> High School/>/> for the Arts & Technology grad is making it in NYC. Tim Mackabee is the Associate Set Designer.

 

 

 

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