Dr. Blackwell's BLOG

It looks like U2’s Bono and The Edge, the two main composers of the smash Broadway hit Spider Man: Turn Off The Dark currently playing at the Foxwoods Theater in NYC have been hard at work producing a music video for a version of the show’s most memorable number “Rise Above.” The video will feature leading man Reeve Carney, who just extended his stint as Peter Parker/Spider Man, through May of 2012. Take a look at the video below:

About two weeks ago, I experienced what can only be described as the most exhilarating live theatrical performance of my life. Now, before I get into that, keep in mind that I have been a Broadway buff for a long time and have seen countless shows in my 33 years of life. Anyone who knows me knows that I hold the shows Titanic and Ragtime above all others. I can’t even begin to describe how much those two shows moved my spirit and touched my soul. So, to say that any show actually rises above (no pun intended) them is a serious claim. But, after experiencing Spider Man: Turn off The Dark at the FoxWoods Theater last week, I must politely ask Titanic and Ragtime to step aside. They will always live in my heart as tremendous pieces of theater; but Spider Man truly blew away my heart, soul and senses. It reminded me why I have such a fond love for amazing groundbreaking theater.

There have been plenty of negative things written about the show. And from what I hear, the show that ran in previews that was riddled with injuries and mishaps was just as confusing as it was risky.  But the ultimate product that was born from the creative minds of Julie Taymor and Creative Consultant Phillip William McKinley is of the highest quality I have ever seen on stage. U2’s Bono and The Edge have craftfully written a spectacular score that soars as high as the stuntmen playing Spidey just at the right moments, tugs at the heartstrings when the story of Peter Parker and Mary Jane Watson comes to its climax, and steals your very breath away as the menacing villains of the show battle-out the classic matchup of good vs. evil.

The story couldn’t be more solid. And while most are familiar with the story of Spider Man, there are some unique twists that are presented in the musical that set it apart from its comic book origins and overshadowing big-budget trilogy given to us from Hollywood. Peter Parker’s strife as the goofy adolescent is played wonderfully by Reeve Carney, who’s rock ‘n roll voice is perfectly suited for the role. Carney also effectively plays Spider Man in several scenes (most of the grounded ones that don’t require the skills of a well-trained stuntman). But it is perhaps the transition from Parker to Spidey that Carney most passionately executes in the power ballad “Rise Above” where he is joined by most of the cast and Arachne, a famed spider from Greek mythology, who we learn early in the show is guarding over Spider Man and responsible for his actualization that he is no longer simply a mortal being.

As for the main villain (yes, there are others who’s origins I wouldn’t spoil in this review), the Green Goblin fits the bill wonderfully! He is perfectly played by veteran Broadway actor Patrick Page. And while the story of Dr. Norman Osborn should be familiar to fans of the genre, there are some unique elements present in his metamorphosis here that strengthen and validate his hatred for Spider Man more than most other representations of his character.  And the structure for this is presented amazingly in the songs “DIY World” and “Pull The Trigger.” Beyond the brilliant acting, storyline, stunts, and songs of Spider Man: Turn Off The Dark, the sets are stars of the show all by themselves. From the tapestry literally woven with the introduction of Arachne’s story in the beginning of the show to the “towering” skyscrapers and digitally projected backdrops of Act II, the sets are astonishing! The talent that went behind the creation of this show from every aspect is mind-boggling and is unlike anything that has ever been staged.

Of course, that all comes at a great expense. The show has the highest budget of any show in history ($75 million) and has a weekly operating budget of $1 million! That is quite an expensive tab, particularly in an economy that can be described as challenging at best. Right now, the musical is bringing in a whopping $1.8 million/week.  But that is in the middle of tourist season and brings about some anxiety for the production. Like Titanic and Ragtime before it, a sky-high budget can doom a Broadway show. It is my sincere hope that Spider Man: Turn Off The Dark does not meet a similar fate as my other two favorite Broadway creations. If you are heading to NYC, THIS IS THE SHOW TO SEE! Forget anything else on Broadway–THIS IS THE BEST SHOW BY FAR! And when you get caught in Spider Man’s web (literally), you’ll know just what I’m talking about and will thank-me for recommending Spider Man: Turn Off The Dark!

  Broadway World released a new video today of some incredible musical highlights from Death Takes A Holiday, the new Musical from Titanic’s Peter Stone and Maury Yeston now playing at the Laurel Pels Theater. Take a look below

I had an awesome little excursion to New York City last weekend to see some AMAZING Broadway shows including 2011’s Tony-Award Winning (x 9!) Best Musical The Book of Mormon, the second-to-last-performance of Tony-Award Winner for Best Revival of a Play The Normal Heart, and Death Takes A Holiday the new musical from the same creative team as Titanic. All shows were superb! Below is a synopsis and critique of the shows: The first show of the weekend was The Book of Mormon–one that I was really anticipating seeing given that I am a HUGE fan of South Park and the fact it won an astonishing 9 Tony Awards, including the coveted prize for Best Musical. Needless to say, the show is highly blasphemous, poking a million little holes in the Mormon religion, exposing most of it as a ridiculous and laughable fraud. Ironically, many of the comedic elements of the show which garnered large audience reactions came from the musical numbers that are laced with accurate descriptions of what Mormons actually believe. Of course, this is all punctuated by some very funny slapstick comedy and tremendously strong performances. Elders Cunningham (Josh Gad) and Price (Andrew Rannels) are our lead characters that are shipped off to Uganda to proselytize Mormonism to Africans who are fighting the realities of genocide, AIDS, famine, and all of the other problems condign to that region and have very little time or usefulness for religion. We watch the duo in their hilarious attempts to convert the locals (including Nabulungi, enchantingly played by Tony Award winner Nikki James) and the entire show reaches its pinnacle with an African tribute to what the Ugandans have been taught to believe Mormonism is all about! The musical score is composed by Trey Parker, Matt Stone, and Robert Lopez. It is poppy with some underlying rock; and in my opinion, is much higher in quality than Lopez’s last production Avenue Q–a show that, while entertaining, was not one I was too fond of. All in all, The Book of Mormon is fluff at its finest. You’re not going to walk away from the show pondering the meanings of life; but you will be absolutely sore from the hilarity of the event! I would definitely recommend it. However, the tickets are at a VERY HIGH premium right now and must be purchased from a broker. So, unless you are okay with dropping several hundred dollars to see it, you’ll need to wait for some of the buzz to die down. Currently, the show is completely sold-out through January 2012. The second show of the weekend, which by far had the biggest impact on me personally, was The Normal Heart, the riveting story of the onset of the HIV/AIDS epidemic in New York City between 1981-1984. The show was led by an amazingly talented (and famous) cast that gave performances that were chilling to the bone. It is difficult to put into words the experience this show provides to those who watch it.  It is one of those rare theatrical experiences that truly makes an astonishing impact on your soul. While the entire cast was simply phenomenal, the three standouts from the show are Joe Mantello (a longtime staple of musical theater and the director of the Broadway sensation Wicked), Ellen Barkin (the famous screen and television actress), and John Benjamin Hickey (from Showtime’s “The Big C”). Mantello’s character Ned (based on AIDS activist Larry Kramer) is faced with insurmountable challenges that seem to be worsening by the minute–his brother Ben, a hotshot successful attorney (Mark Harelik), has never truly accepted Ned’s homosexuality and he is watching a mysterious illness ravage his friends and lover Felix (played by Hickey) as it spreads like a wildfire through his community. He assembles a small army of friends, including Dr. Emma Brookner (played marvelously by Barkin, who gives what very well could be the performance of her career), that would serve as the foundation of the AIDS movement that faced an epic uphill political battle on every front imaginable. The cast executed the story (written by Kramer, the man who experienced it firsthand) so impeccably perfect that I truly felt like I had been swept back in time and immersed as a witness into the hellish events of the era. We watch as beloved characters die horrific deaths; our hearts are ripped from our chests as we hear the nightmarish stories of the disgusting discrimination that thrived; and our souls sink to unimaginable depths as we feel the pain and frustration these men experienced. And yet as helpless as we are to do anything about it, we are also inspired. As a gay man, I can easily see how the contributions these men made to my community are as palpable and relevant today as they were 30 years ago. And I stand solidly behind my belief that the closet is the most dangerous place on the planet. The Normal Heart was one of the most moving, engaging, and emotional experiences I have ever had in a theater. It is tragic the show had to close. But I am forever grateful for being given the opportunity to experience it from such an outstanding cast. The final show of my Broadway weekend was Death Takes a Holiday. This is a show that I was really looking-forward to seeing ever since it was announced, mainly because it was written and composed by Peter Stone and Maury Yeston, the duo responsible for my all-time favorite Broadway musical ever–Titanic (1997 winner of 5 Tony Awards, including Best Musical). While the groundbreaking and breathtaking technical elements of Titanic are completely absent from Death Takes A Holiday, its lush score stirs many memories of that tremendous musical that graced the stage over a decade ago. The story takes place in the late 1940’s and centers around the wealthy Lamberti family, that after experiencing a close-call with death are visited by a strange Prince, (actually Death himself, who has taken human form so he can experience the joys, loves, and losses of life as a human for just a few short days). As the Prince/Death (played superbly by a devilishly handsome Julien Ovenden) bonds and collides with the family, he falls in love with Grazia (Jill Paice, who’s voice and performance were both heavenly), who in the process of falling for the Prince, learns a powerful lesson herself, that love is a power that transcends life completely. The musical numbers are all masterfully crafted by Yeston and musical director Kevin Stites (also of Titanic). A dance sequence in the first act reminded me slightly of Titanic’s “Latest Rag” and truly lifted my spirit; but the Act I finale truly stole the show (and my heart). Death Takes A Holiday is magical, moving, and triumphant! The Lambertis’ lives are filled with the endless joys and heartaches we all have had in our lives. And as we see Death learn the happiness and sorrows of life (albeit very quickly) we are reminded of the growth and maturation we have all had during our human experiences. This show is a gift and is one that should not be missed. Death Takes A Holiday is playing at the Laura Pels Theater (Roundabout Theatre Company) through September 4th, 2011. Below, watch the montage for the show:

 Playbill is reporting today that Love Never Dies, Andrew Lloyd Webber’s sequel to The Phantom of the Opera is closing on the West End. The tumultuous West End production opened to mixed critical reception. Webber also intervened with the show and rearranged key elements of the original staging by replacing the director and creative team for the West End’s Love Never Dies.  According to the article:

Andrew Lloyd Webber’s Love Never Dies, his continuation of The Phantom of the Opera story, will shutter at the West End’s Adelphi Theatre Aug. 27. It was previously booking through January 2012. No press statement has been issued, but the troubled musical, which originally opened in March 2010, had previously been revamped last December, after a brief hiatus for production changes to be implemented. Original director Jack O’Brien and choreographer Jerry Mitchell have long departed the project.  

While this staging of this show is closing, the Australian  mounting of the production is garnering terrific reviews. Webber himself is delighted in the Australian version of the show and has been quoted as saying this is the version he wants to bring to Broadway sometime this year or next. As Playbill explains:In May, an entirely different production was launched in Melbourne, Australia. At the time, Lloyd Webber told the Sydney Morning Herald newspaper, “I would like this show to go everywhere because I think it’s just the best. This is the show that should go to Broadway without any question.”Webber is currently securing the financial backing the show needs to run on the Great White Way. The production closing on the West End had an opening budget of $9 million.

Broadway World is reporting that Andrew Lloyd Webber is quite pleased with the Australian mounting of Love Never Dies, his long-anticipated sequel to The Phantom of the Opera. In fact, Webber is so pleased with the way this production is shaping-up, he wants this version to make its way to Broadway. Love Never Dies originally opened in London’s West End almost a year ago. But, that production was met with mixed reviews and was also plagued with problems with its director. Webber has always stated he would pick the version to appear on Broadway by assessing three competing productions of the show (UK, Australia, and Toronto). Below is the story from Broadway World: Andrew Lloyd Webber has let the world know what he thinks of the Melbourne version of LOVE NEVER DIES, his sequel to PHANTOM OF THE OPERA which opened last Thursday. The $9 million production has many differences from the LOVE NEVER DIES that has been playing in London for over a year.‘I would like this show to go everywhere because I think it’s just the best,’ Lloyd Webber told the Sydney Morning Herald of the Australian production, led by director Simon Phillips and designer Gabriela Tylesova. ‘This is the show that should go to Broadway without any question, but it depends on how it all goes.” Many financial negotiations will still be needed to open the show on the Great White Way. While in Melbourne, Lloyd Webber has attended previews and technical rehearsals while watching Phillips at work as well as writing new bits of music. Lloyd Webber has described the production as “extraordinary,” “fabulous,” “seamless,” and “bliss.”‘I have the great joy of being able to say that I think this production is probably the finest one I could ever, ever hope for. Three times in my career this has happened. The first time was when I saw Evita in rehearsals and I thought, ‘This design and production is absolutely perfect and what I want’, and again when I saw The Phantom, and this is the third time I can say it again. What Simon has done … he completely gets it. You wouldn’t recognise this from London.’This is a turnaround from his initial reaction to the London production, which opened to mixed reviews and not-so-great box office performance. After the London production opened, Lloyd Webber said he felt that show wasn’t “right,” and that the opening should have been postponed. Lloyd Webber also said that ‘At some point we will have to take a decision to let it [the London version] run, or whether it’s better to bring this [the Melbourne version] in, but that can’t be done tomorrow.

 Despite its successful runs at both the David A. Straz Center in Tampa, Florida and Houston’s Ally Theater, Wonderland, the musical re-telling and modernization of the famous Lewis Carroll story Alice in Wonderland is closing on May 15th at Broadway’s Marquis Theatre. The cast was informed of the show’s fate before the evening performance on Tuesday. The musical marks yet another Broadway flop for composer Frank Wildhorn, who has the dubious distinction of never having a successful show grace the stages of the Great White Way. A national tour of Wonderland is being planned; and despite the millions of dollars lost by investors and producers on the production, Wildhorn already has another show in the pipeline. Bonnie & Clyde is expected to hit the stage by year’s end. I was able to see Wonderland when it premiered at the Straz Center for the Performing Arts in Tampa in the end of 2009.

The show was riddled with plot holes and I was very surprised to see the two leads, Janet Dacal (Alice) and Darren Ritchie (White Knight) were selected to reprise their roles when the show transitioned to NYC. Both were weak in their performance and demonstrated a less than stellar vocal ability.Although the show underwent drastic rewrites and its score was enriched with new musical numbers, critics were not impressed. According to Playbill:

“Critics did not embrace this modern riff on the fantastical world created by 19th-century British writer Lewis Carroll (”Alice’s Adventures in Wonderland,” 1865), who makes an appearance in Act Two of the show by Gregory Boyd (book and direction), Frank Wildhorn (music) and Jack Murphy (book and lyrics).”

I have to say that despite its shortcoming, I found Wonderland  to be entertaining. And given the tremendous financial and artistic tasks and risks associated with mounting a Broadway production, I hate to see any musical flop. However, I must admit, I am not surprised in its early closing.

 The musical Wonderland: A New Alice. A New Musical which got its start under a slightly different subtitle (The New Adventures of Alice) at the Tampa Bay Center for the Performing Arts, is close to opening on the Great White Way. The show begins previews March 21st at Broadway’s Marquis Theatre. The show opened in Tampa at the end of 2009 and was the first ever workshop produced by TBPAC specifically as a Broadway-bound musical. According to Playbill:

Wonderland is a new pop musical about a modern mom who goes down Alice’s rabbit hole, has a book by Gregory Boyd and Jack Murphy, lyrics by Jack Murphy, music by Frank Wildhorn, choreography by Marguerite Derricks and direction by Gregory Boyd. It will open April 17. The company features Janet Dacal (In the Heights) as Alice, Darren Ritchie (Little Shop of Horrors, Thoroughly Modern Millie) as White Knight, E. Clayton Cornelious (The Scottsboro Boys, A Chorus Line) as Caterpillar, Jose Llana (Spelling Bee, Flower Drum Song) as El Gato, Karen Mason (Hairspray, Mamma Mia!) as Queen of Hearts, Kate Shindle (Legally Blonde, Cabaret, Jekyll and Hyde) as Mad Hatter, Carly Rose Sonenclar (Les Miserables, Little House on the Prairie) as Chloe, Edward Staudenmayer (Spamalot, Martin Short: Fame Becomes Me) as White Rabbit and Danny Stiles (regional productions of Guys and Dolls and Sister Act: The Musical) as Morris.

According to Playbill, the Australian production of Love Never Dies, Andrew Lloyd Webber’s sequel to his international hit The Phantom of the Opera, will begin performances May 29 at the Regent Theatre in Melbourne, according to the production’s official website. The musical, which received mixed reviews when it opened at London’s Adelphi Theater (where it continues to run) in the Fall of 2010, has had a tumultuous production history. The show’s original director (Jack O’Brien) was replaced by Webber for the Australian mounting of the show, with Priscilla, Queen of the Desert director Simon Phillips stepping in to helm the run.Webber also brought in many of the creative team members from the original Phantom of the Opera, including lyricist Charles Hart and Musical Supervisor Guy Simpson.

Love Never Dies picks-up 10 years after The Phantom of the Opera left off. Opera star Christine Daea, married to the now destitute Raoul, has relocated to the United States to perform in America’s new playgroud, Coney Island. After taking over as the leading Soprano for Coney Island’s opera performers, a mysterious force resurfaces to profess his love for his protege. Love Never Dies was originally slated to open on Broadway in November of 2010. But due to issues with the original London production and Webber’s battle with prostate cancer, the move was postponed until competing Australian and Toronto productions worked out the issues with the book. The production should open sometime on Broadway in 2011. For more information on the Austrailian production of Love Never Dies, visit the official Web Site for the show (http://www.loveneverdies.com.au/). Below, watch a preview trailer for the Austailian production:

Playbill revealed today that Andrew Lloyd Webber’s sequel to The Phantom of the Opera, is undergoing a major change from its current West End inception and is heading to Mulbourne, Austrailia:

Love Never Dies will play at Melbourne’s Regent Theatre in May 2011. A new creative team will take a fresh look at the musical that is currently playing London’s Adelphi Theatre. Lloyd Webber has enlisted Priscilla Queen of the Desert director Simon Phillips to helm the Australian premiere, which will also feature a new production design by Gabriela Tylesova. Bob Crowley (Mary Poppins) rendered set and costume designs for the current London production. Tim McFarlane will produce the Melbourne staging. Tickets for Love Never Dies will go on sale Oct. 25. “I’m delighted that Andrew Lloyd Webber has chosen an Australian team to work on his inspired new structural changes, which promise to further intensify the thrills and spills of the story as told in London,” Phillips said in a statement. “I’ve already begun developing a design with Gabriela Tylesova, hoping to do with the razzamatazz of Coney Island what Maria Bjornson’s iconic Phantom designs did with the opulence of the Paris Opera, and I can’t wait to start the search for the formidable talents required to do justice to the score!”Australia has always been part of the international plan for Love Never Dies, which premiered in London this past March. However, critics were cool on the lushly scored musical that follows the Phantom and Christine to Coney Island ten years after the original production ends its tale.The musical was to premiere on Broadway in November but has since delayed its arrival. Tony-winning director Jack O’Brien and Jerry Mitchell, who staged the original London production, are reported to have withdrawn from the project. Lloyd Webber’s plan to stage an altered version of Love Never Dies while the original is still running is not unheard of for the award-winning composer. When the London production of Sunset Boulevard opened in 1993, he followed with an altered staging in Los Angeles in 1994. The L.A. production (and its star) famously arrived on Broadway the following year, while the London production shuttered to undergo an overhaul and subsequently opened with a new cast.