TheatreWorks

If you've ever done theatre, specifically musicals, you likely know what horrible things happen to the show's songs before the end of a run.

They get morphed into parody numbers, usually fairly filthy, before you're even one week into rehearsal!

Well, with a cast of young ladies, apparently filthy parodies are NOT the order of the day. Phew.

But the big habit in the dressing rooms and green room, at the moment, is "riffing." At any given time, you are likely to hear crazy belted r&b riffs enhancing whatever music is happening onstage. The cast can listen via a monitor, but the audience can't hear what goes on down in the dressing rooms.

I think 'American Idol' is to blame.

But it's better than X-rated versions of the songs, so I'll take it!

So, you know there's a bunch of young ladies in "A Little Princess", but did you know they have to settle down and have an hour of school after any matinee?

And that a tutor has to hang around backstage with them?

Apparently their boundless talent doesn't start and end on stage.

From what I hear Lizzi Jones has been making some rather stunning portraits of people in the show when she gets bored.

And the girls collaborate to compose their own three-part ditties backstage in what was described to me as their
"wild sleepover of a dressing room."

Sounds like a lot of fun.

Also sounds like all that limitless energy would remind me just how old I am!

My unnamed source, okay one of the girls, but I won't say who...feeds me this great little tidbit:

"A few days ago, Will Chase (Captain Crewe), during the touching scene where he sends his daughter off to Africa, put her shoes on the wrong feet. I'm sure no one noticed from the house, but those of us watching from the wings found Sara's little gimp feet pretty hilarious."

I'm just trying to remember how long that scene is, and how long she had to walk around like that?

Found this item about yet another show trying to make its way to Broadway, based on the Frances Hodgson Burnett tale, "A Little Princess."

This one has been modernized, and is about a group of girls putting on "A Little Princess."

There's even a little blurb mentioning our show at the very end.

Here it is.

I've got a faithful blog reader who has 1 ticket available for the final Saturday evening (9/18) and 1 ticket available for the closing Sunday matinee (9/19) that he suddenly can't use. (Wow, what a fan! And he's already seen the show a couple of times.)

If anyone is interested, you can use the link to email the BlogMaster (that's me) and I will connect the two of you.

Something else the Internet is all about...connecting people.

(Yes, I know there are those wh think the Internet results in a bunch of isolated people in front of their screens, and in my cynical moments I say the same. But I usually stick to my story that it bring people together.)

Here's the review from the regional reporter for Talkin' Broadway.

No spoilers at all.

It follows a common theme that recommends tinkering further with the story structure, while highly praising many of the other elements, from the score and lyrics, to the performers, to the choreography.

Read it here.

Another great review.

Although a little spoilerish.
Read it here.

I have to say this review isn't just interesting because it's so positive towards the show, it's interesting because the reviewer has turned the whole review into a comparison between "A Little Princess" and the book, "Women Who Run with the Wolves."

You just have to read it to get it.

(And I've never read that book, so I'm not sure I get it anyway.)

Here it is.

It just occurred to me that the big hot hit from "A Little Princess" is Sara's solo, "Live Out Loud".

Meanwhile TheatreWorks' next production is "Living Out."

I'm searching my mind for something pithy to say about that, but perhaps someone out there in blog-reader-land can come up with something instead.

This time from the Merc. (I think registration may be required.)

It's mixed in a similar way that other reviews have been. Praises the performers very highly, praises a lot of the visuals and choreography. Praises the score.

But like the others, suggests tinkering with the structure of the story.

What fascinates me is how reviewers choose their headline. Let's face it, a lot of folks probably read the headline and form their frame of mind to read the rest of any article.

I read plenty of reviews that choose a quite damning headline, but then the body of the review really isn't so bad.

I guess it must get more attention to be snarky. Well, I don't guess; I know!

When I lived in NYC it was John Simon reviewing for New York Magazine and Frank Rich at the Times that got all of the attention...mostly because they could be totally vicious. At least Rich stuck to being vicious about talent. Simon got vicious about people's appearance, or their ethnicity.

But, I digress.

Anyway. 2 more weekends to go for this world premiere production. Don't miss it. I love to be able to say I saw things first! It's been a great year or so for that in this area. First we had "Wicked" up in SF, now this.

Here's a link to the rave Palo Alto Weekly review (no spoilers at all really.)

One of our blog readers posted a comment, wondering about why Kimberly King, our Miss Minchin, was using a cane at Friday night's performance, and whether she was OK.

Turns out Ms. King jammed her toe, but saw a doctor today who popped it back into place (yikes!)

She is wearing a protective boot, but given her costume has large hoop skirts, it's not even visible.

She went on for today's matinee, and is expected to be just fine.

Thanks for inquiring after her well-being. We appreciate your concern.

And I suppose if you're going to see the show tonight or tomorrow, you could try to catch a peek at her big boot, sort of like a game of 'I Spy.'

I'm surprised how many of these are popping up after we've opened.

Oh well, it's another glimpse of "Little Princess" rehearsals.

The Cupertino Courier has a nice interview with our Miss Amelia, Molly Bell. Given that this paper probably doesn't get to most of you in the Bay Area, here is a link to it.

Molly describes the way she approaches a role, heavily informed by her experience as a dancer. It's a pretty clear, understandable description of one method for getting "into" a character.

Interesting reviews coming in. Most praise the cast, the orchestra, the visuals very highly. What's left, you might ask? Well, they think the piece itself needs more "tinkering."

Broadway musicals used to have one common path to Broadway...the out-of-town tryout. Sometimes in New Haven or some other city near, but not in NYC. And NYC critics generally didn't go and review those productions. You might recall the lyrics to "Another Openin'; Another Show" from 'Kiss Me Kate': "Another Openin'; Another Show. In Philly Boston or Baltimo'"

That became a rather expensive undertaking, so Broadway shows started having the endless Preview syndrome. Some shows extended their Opening Night date so many times it became a big Broadway joke before they even opened. I'm remembering that being the case for Marvin Hamlisch's "Smile" when I lived in NY. (And BTW I quite liked that show myself.)

But of late, something new has been happening. Shows that open in quite far away regional theatres, and work their way to Broadway a little more slowly.

"Into the Woods" opened in La Jolla first. It underwent some major tinkering (including the replacement of original Witch Ellen Foley with Bernadette Peters) before making its way to NYC.

Much more recently "Wicked" opened here in SF first. And yes, underwent some major tinkering itself.

It's a different road to Broadway, but as both of those examples show, it can be a successful one.

Nice article, featuring significant Andrew Lippa quoting, on the Inside Bay Area web site.

Also looks a bit at the history of bringing this piece to the stage.