1998 NYC & Toronto Trip
If you'd like to read what I thought about the show, click an underlined show then it will take you to the review page.
The Lion King (9/17/98 evening New Amsterdam Theatre, Balcony row D)Ragtime (9/18/98 evening Ford Center, Orchestra row B)
Chicago (9/19/98 matinee Shubert Theatre, Orchestra C)
Ragtime (9/19/98 evening Ford Center, Box Seat)
Cabaret (9/20/98 matinee Kit Kat Klub, Mezzanine Table)
Sound of Music (9/20/98 evening Mezzanine row D)
Forbidden Broadway (9/21/98 evening)
Les Miserables (9/22/98 evening Prince of Wales Theatre, Orchestra row CC)
Les Miserables (9/23/98 matinee Prince of Wales Theatre, Orchestra row DD)
The Phantom of the Opera (9/23/98 evening Pantage, Orchestra row D)
Les Miserables (9/24/98 evening Prince of Wales Theatre, Mezzanine row B)
See what I saw in NYC!
New York Photo Gallary
Sept. 17 Thursday Sept. 18, Friday
Arrived at Newark at 9:20 am and took the airport express bus to the Grand Central Station. BIG MISTAKE! I did so because I had a big rolling garment bag and backpack, and I was told it's not wise to walk from the Port Authority Terminal Station on 42nd street with that kind of luggage. I should have listened to my instinct since my hotel was only four blocks away from the Port Authority. The shuttle van from the Grand Central took me nearly one hour to get to the hotel because of those darn double parking on the street!! I thought San Francisco streets were awful but I've quickly changed my mind after going through NYC streets.
After leaving the luggage, I went to the Empire State Building. My first impression of Big Apple? Looks like Tokyo! After becoming familiar with the streets, I felt at home. The only difference is that there are no entrepreneur who carries a brief case full of Rolex in Tokyo. Also, Japanese don't cross the street when the stop light is red!
I met Joseph (JSY) (he is such a sweetie) before the show, and we went to Joe Allen's for dinner. Now, I'm from California, smoking is an ancient habit. Well the host asked if we prefer smoking or non. Of course non-smoking please. Ahh, but there is no definite separation and I still detected the smoke in the air, yikes! Looking through the menu, I suddenly remembered Christina's column, that she loves mash potato at Joe Allen's. Unless the cook was lazy that day, that mashed potato was way too lumpy!! And they don't give you enough gravy ! I tell you, my husband makes the best garlic mashed potato on the earth, no lump guarantee! And it's not runny either. Boy, I'm spoiled.
Today's main event: The Lion King. I was so fortunate that I found the ticket for the show online. I checked Ticketmasters every day and one day, a balcony ticket (4th row center) popped up. Lesson No. 1, persistence will prevail. But when I went to the Balcony section, I thought this may be the steepest Balcony (could it be possible that it's steeper than Palace Theatre in London or Curran Theatre in San Francisco??). I knew if there was an earthquake or fire, we, Balcony people, would not survive.
I was very looking forward to seeing Rafiki, Tony nominated actress, but alas, I got the understudy (Sheila Gibbs). I also got Simba understudy (Timothy Hunter). I was pretty disappointed about it but actually, Simba understudy wasn't that bad. Besides, this show is not about actors, it's about theatrical spectacular presentation. In "Circle of Life," when I heard the chorus from back of the balcony section to surround the audience, I got the Goosebumps. Throughout the show, I was dazzled by the magnificent set (using the vertical space of the stage very cleverly), lighting and the wonderful African music. Especially the scene where Mufasa's face is shown in the air in "He lives in you," I was like "Ohmygod!" I really couldn't imagine how they'd do it and caught me in surprise. Although the original Timon (Max?) was already gone, the replacement actor (Danny Rutigliano) was really good, and as the time goes by, you just forget that there is a man behind the puppet. The movement of puppet handlers was so smooth, you don't feel like watching the puppet show at all. However, there were some points that I was not impressed. First of all, they use way too much wiring. It gets old pretty fast. Then, young Simba was missing the keys big time, it was embarrassing. Too bad since young Nala was wonderful. During the song, "I just can't wait to be King," it's supposed to be a fun crowd pleaser, but because of young Simba's singing, when I looked around, nobody was responding to the song in the Balcony! I wondered, "is this the level of Broadway kid?"
I truly enjoy the show, it was like an exciting ride in the amusement park, encountering a surprise one after another. Do I pay to see it again? I don't think so. Is it worth Tony Best Musical Award IMO? I doubt it. Give them all the technical awards including costumes, if you have to. But I cannot reckon TLK worthy of the Best Musical Award when it did not move me emotionally.
Tourist day! I took the 3 hour Circle Line Cruise around Manhattan ($22) in the morning. Anybody who would like to see Manhattan horizontally, this is it! I was worried I may be bored after three hours. NOT! They also have a sunset cruise and 2 hour cruise. Next time, I'll take the sunset cruise for sure.
Then, after the cruise I hopped on the bus (I used the bus quite a lot in NYC. If it's not during rush hour, it's quite convenient and you can enjoy people watching from the bus) to the Met. I liked the miniature dolls that describe the Egyptian life. It seemed that there was the shoes exhibition at Met a while ago. Darn, I love shoes! I bought a beautiful silk scarf, titled Venetian Glass, for my Mom. I really liked and wanted it for myself but I thought "I could see a show with this price." Don't you hate when you start measuring everything in terms of price of the theatre tickets?
At last! One of the biggest events: Ragtime! The day before, I left a note to Stokes saying that I saw him at SF Gala concert, and I was really looking forward to seeing his Coalhouse, bah, bah, bah. I know, I'm really too much! When I checked the cast board just before entering to the theatre, there were three understudies: JP Morgan, Mother, and Sarah!! Aaaahhhggg, no Audra?! Please tell me it ain't so! Well, I got 6th row center orchestra seat, and Stokes would be on stage, and before I left to NYC, I said "I wouldn't mind if I get all the understudies for the principle if I can see Stokes as Coalhouse!" so what could I ask for more? And the theatre is so beautiful, and the lady's power rooms were great too! The excitement was overwhelming, I could have screamed even before the show began.
The opening number was just beautiful. And as soon as Audra came on stage, I knew it was her! Thanks God, Allmighty! The cast board just fooled me. Then the MAN appeared on the stage with the piano. Oh, how could I describe the exultation! His stage presence and charm immediately captured me and carried me away. (If I can explain how Stokes knocked me out, I should confess that I thought "oh, Philip has to come to Broadway immediately and perform for me; otherwise his darling status is in danger!) I was crying for a sheer joy of being able to witness this amazing man's performance after the opening number. (I felt sorry for the people next me for being overly emotional but I couldn't help it) His charisma was oozing out from his every pore, it overwhelms you. I had to remember to breathe time to time, I swear.
After the opening number, it's a while until Coalhouse appears again on the stage, so I thought I could settle a little bit, and how foolish I was. Of course, I was sniffing in "Success", and "Daddy's Son", it was a bucket case. Someone said that Audra put so much subtleties in Sarah's role, which is so true. Okay, I did not see the opening number in D.C. (still kicking myself) and L.A. production is already a distant memory, so I don't remember well. But I noticed that in the opening number, when Coalhouse disappears for a while, Sarah looks very concerned, somewhat in panic, and is looking for him. By the time Coalhouse comes back to the stage, Sarah is hurt and sad, and at the end of Ragtime number, Sarah notices that she is pregnant. Do other Sarah actresses act like this too? Anyway, this was the first time for me to notice that Sarah's story has begun from the opening number.
Audra portrayed Sarah as an innocent, possibly unsophisticated or simple minded, girl who has a heart of child from Deep South. I saw so many complex feelings in her "Daddy's Son." They were anger, confusion, shame, regret, fear, pain, despair and sorrow. Audra's emotion overwhelmed me and gripped my heart. To my eyes, Audra's Sarah has such a pure heart that could not take a betrayal from Coalhouse, her first love, and was temporary insane when she buried her baby. I can understand how Coalhouse adored Sarah's pure heart and fell in love with her. Audra was crying but her voice was still strong and clear.
"Courtship" is another favorite scene and here, I couldn't keep my eyes out from Stokes' facial expression. I really liked Audra's portrayal of Sarah who doesn't let her guard down at all. Even when she comes down to Coalhouse, her facial expression showed the mixed emotion of the fear of uncertainty.
"New Music" has not been that special song for me until this night , but Mark Jacoby was excellent in that scene, vocally and acting, I really enjoyed it for the first time. I've seen three Father so far, and Mark is the best Father IMO, not too stiff or too distant. It is a difficult and unthankful role, but he portrayed the man who felt uneasy about the changing era and changes in his wife pretty well. Mother was understudy (Patty Globe), and I liked her portrayal of Mother too. Of course Marin can sing much better but as someone pointed out, she came across too strong or cold at time (in the CDs). Patty's Mother is more soft and feminine at the beginning and gradually turned to a strong, independent woman. She did well on the one liners the following night, getting lots of laugher. Patty looks very young off stage, like 20s or early 30s, but on stage, she looked just like Mother's age.
We've watched and listened to "Wheels of Dreams" to death by now. So, was the magic worn off when I saw it in person? Of course NOT! I especially liked when Coalhouse talked about Booker T. Washington, and Sarah said "but you are a great man, Coalhouse." The way Audra said clearly indicated that Sarah is a simple-minded girl. And I love Stokes' response even better when he said, after a little pause, "not like that, not like that" with a big warm assuring smile. During the song, I really wished I could freeze the time. Stokes and Audra, they are just superlative!
This was the first time to see Peter Friedman as Tateh too, and again, he is The Tateh. I particularly like "Gliding" and always look forward to "this is not for sale... one dollar," and the timing was excellent this night. I remember both time I saw the show in L.A. and D.C., I had an impression that Tateh in Second Act is somewhat disconnected from the First Act (besides a successful man, I'm talking about emotional connection to Tateh here). But Peter's Baron still showed the emotional connection to Tateh quite well.
Even you know what'd happen in the show, the funeral scene was still sad and I couldn't stop crying. Stokes' subtle expression and movements were excellent and I did not remember that after Coalhouse crushes the red rose over Sarah's body, he steps backwards and almost faints. Does other Coalhouse do this too? I guess I did not pay much attention at all when I saw the other productions!
I must admit, I always feel the Second Act is a bit slow and this time, I felt the same (even I was watching the best musical of my life!). However, Stokes always shined in any scene he appeared. Especially, I just LOVE "Sarah's Brown Eyes." The acting of Stokes and Audra is just sublime here. (IMO, the actor in D.C. company acted here somewhat too cold) I wished I had four eyes to see both of them at the same time! When Stokes sang "Let Them Hear You," he definitely grasped the whole audience in his palms.
One of the highlights of the night was that at the curtain call, I couldn't believe nobody around me gave the standing O even when Audra came out! Of course I stood up and when Stokes came out, he was in front of me, so I waved at him. He saw me and said "thank you," which made my day! I was so thrilled throughout the night, I thought if this was the last musical I'd ever see, I wouldn't regret it. It is definitely the World's 8th Wonder "why Stokes did not get the Tony Best Actor Award."
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