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
Two show day!
After breakfast, my friends and I went to the Ford Center for the theatre tour ($10). They offer the tour only on weekends, twice a day. Although you cannot go to the wings or backstage, you can walk around the theatre and on stage (limited area), and it is a very interesting tour for theatre lovers. And when you stand on the stage, you know how steep the raked stage is. The usher told us that each actor has to take a class to work on the raked stage. He said, having two entrances (on 43rd, the main entrance and on 42nd St.) was a real advantage when either of the street had to be closed. When the construction accident happened, 43rd St. was closed but Ragtime was saved since they had 42nd St. entrance. He said, "if 43rd St. entrance was also closed at the same time, we壇 have to cancel the show but then, The Lion King would go down with us too, so that痴 okay." Sitting on a seat, I was surprised to know how well you can see the stage even from the Balcony. The space between the rows is pretty ample for a long legged person. The wonderful sensation from the night before came back to me and again I thought I was so fortunate to see Stokes in person.
Did you know that there is a new visitor center next to Palace Theatre in Times Square? It's very convenient, and they have counters for Grey Line tours, Metro, Broadway ticket agency (full price for most of Broadway theatres), and the best of all is free internet access (10 min). I accessed Talkin Broadway痴 All That Chat and reported what a wonderful theatre experience I had the night before. I think this service is really great especially when internet caf·is always crowded and it痴 not free!
For the matinee time slot, I saw Chicago, one of my favorite musicals. Unfortunately, I forever missed the opportunity to see Bebe as Velma, but I saw Ute Lemper in London and I really liked her. So I was still happy to see her as Velma, and Karen Ziemba as Roxie. Before I left, I heard the rumor that Alan Thicke had already come on Broadway as Billy, so when I found out that Michael Besserre was still performing as Billy, I was totally thrilled. Compared to other newer theatres on Broadway, the facilities at the Sam S. Shubert Theatre are really poor: no lobby, old and fewer restrooms, but a huge bar that nobody uses. Still, these unfavorite factors didn't deter me from enjoying the show.
My seat was on the 3rd row, and it may be too close to the stage, but I like watching actors' faces and body movements really close (I was very spoiled during this trip, most of my seats were really close to the stage). Ute was really skinny and I cannot believe where she stores her stamina. And her legs! It seemed like 2/3 of her body was her legs. It was only the 3rd week since she took over Velma from Bebe, but since she has been playing the role nearly for a year, Ute looked really comfortable performing among the Broadway cast. I can't compare her with Bebe, but she is definitely better than Jasmine Guy in the Velma tour, no comparison! (Don't get me started about Jasmine Guy, I'm so glad she was booted out now) I realized Ute's singing voice sounded very similar to Bebe though. But the acting voice is not, does it make sense?
Karen's Roxie was by far the funniest Roxie, she is such a comedienne. Her facial expression was not that one for a Broadway star, Karen! It was like watching Saturday Night Live skits, I laughed so much just watching her facial expression. Now, Ute is very tall but so is Karen, so visually, their balance was very good. I really loved the London production with Ute and Ruthie Henshall, they had a good rivalry competition going on between them, and it was a real treat to see it on stage too. Ruthie's Roxie was robust with a touch of girlishness. (She is much better on stage than OLC CD, IMO) Her "We Both Reach for the Gun" was hilarious. Karen's version was also funny because of her exaggerated expression. I don't know, but maybe because of Karen's personality or character, or Ute is more comfortable in a show, I didn't detect any competitiveness between them. Ute looked more relaxed and was enjoying the experience. But, I have to point out that I noticed that Ute took an extra long pause twice during "I Can't Do It Alone" routine.
Michael Besserre as Billy Flynn was pretty good too. Actually, he was not sleazy enough for my taste as Billy, but I enjoyed his performance nevertheless. Didn't he play in the ensemble in the Original Revival Cast? The one wearing a vest? By the way, Michael's voice in "We Both Reach for the Gun" sounded like Topu Gegeo (or is it Toppo Gegu?). As for Billy Flynn role, I think Henry Goodman was the best, he is a really good actor, and you can hear him in the OLC CD. (But he lost the Olivier Best Musical Actor Award to Philip Quast!)
The only disappointment was the audience. The reaction was rather lurk warm at the beginning and I really couldn't get it. When I saw it in London, every number was an almost showstopper and met with the roar of applause. Oh, and I wasn't particularly care for Karen's wig. I didn't like Charlotte's hairdo either, what's up with the hairdresser in Chicago? On the other hand, I really think Ute's wig is beautiful, perfectly suited for Velma. I totally forgot that Velma and Roxie throw away rose stems to the audience at the end. And I was on the 3rd row, I caught the one from Ute, yeah! This was the beginning of my lucky day :)
After Chicago, Joseph and I were to go to Little Italy to see the Festival that afternoon before J&H evening show. Since Chicago was over earlier than we thought, Joseph wasn't at the theatre yet. So I decided to wait for the cast. Ute and Karen came out the very end, and while I was waiting, I saw Henry Goodman was walking on the Shubert Alley. I had OLC CD insert, which my friend Julie got Ruthie's autograph in London, with me, so I walked up to him and asked for his autograph too. He said "oh, I was in this show," and I said, "Yes, I saw you in the preview in London." Then he said "I'm now in ART," I thought gimme a break, do you think you are dealing with an amateur? But of course I politely answered, "Oh, I know, how nice." So by the time Ute came out, she was surprised to see the insert, having already got Henry and Ruthie's autographs on it. Another funny was that after I got Henry's autograph, a woman, who was also waiting for Ute/Karen asked me, "Are you XXX XXXX? (my handle name on another board)" "Yes, I am, do I know you?" It was a Linda Balgord fan who I once sent an e-mail during The FIX run. I was so surprised that she recognized me but she said she knew I'm an Asian, and having OLC CD insert gave her a hint, but still it's amazing having been recognized by a total stranger in NYC! Gee, I'd better watch out, you never know who is paying attention what I say and do on and off-line!
After meeting Ute and Karen, I asked Joseph if I could check out Ragtime ticket availability at the Ford Center. You see, during the intermission of Chicago, my mind was not on Chicago at all. Suddenly, I realized that this might be the last chance to see Stokes·Coalhouse on stage in person. I didn't know how long he would be in the show or when I could come out to NYC next time. So even though I thought the previous day that I wouldn't regret even if Friday night's show was the last show I'd ever seen, I quickly changed my mind. "I HAVE TO SEE HIM AGAIN BEFORE I LEAVE NEW YORK!" Although I already had a killer ticket for Jekyll and Hyde for that night, thanks to Richard (he got me a pair of tickets when he went to NYC in May), I'd made up my mind if I could get any ticket for Ragtime, I would take a loss. So we went to the box office and alas, the only ticket left was the historical box seat, which was just fine with me! This is the box seat that located in front of the stairs on both side. Unfortunately, mine was the opposite side of Hudini box but who would complain? I thought I didn't mind sitting in the last row of the Balcony to see Stokes. Now, though it was a partially obstructed view, I would be as close as I wished to be to Stokes! Joseph could not believe I just bought the ticket before I sold the ticket for J&H. I told him, if I couldn't sell J&H ticket, I'd give it to him so that at least the ticket would not be thrown away.
Then we walked over to Plymouth Theatre to see if there was any person waiting for the cancellation line. The good thing was that usually on Saturday evening, they wouldn't sell the tickets at TKTS. There were a few people in front of the box office. I asked a group of three ladies if they were trying to buy the tickets for that night and they were. So I told them that I had an extra ticket, which is a great seat. They wanted three seats together, but when they heard it was for 6th row center orchestra, they said if the box office had a pair of good seats, they'd buy the ticket from me. I offered for $60 (normally $75) because I wanted to get rid of the ticket quickly. But when the guy at the Box Office heard what I was going to do, he warned the ladies that this ticket might have been stolen or fake. Besides, selling a ticket inside the theatre is illegal, he said. I explained that my friend got me the ticket and I have a receipt of the sales (but it was under Richard's name!). He checked the ticket and said it looked like a legitimate one and I looked like an honest person, so he'd let this one go, phew! I got the money and left the Box Office as fast as I could.
When I got to the Ford Center that evening, the cast was the same as the night before. It seemed Marin was sick. As long as I could see Stokes and Audra, I wouldn't complain! The view was partially obstructed (couldn't see well the left back stage) but most of the acting was done at the front stage, I missed very few scenes. I literary was like Young Brother, leaning as far as I could to see and remember Stokes·every movement, using up the most of my brain cells. Once again, the cast of Ragtime gave the fascinating performance in front of the sold out crowd. I was happy because this time, they gave Standing O when Audra came out. I really thought that this was the second time in my life I made the best choice (ditching J&H).
My friends went to see J&H that night told me that Robert Cuccioli was out even though it was Saturday night, which he was supposed to be on! I took the ticket for J&H specifically for Sat. night to see Cuccioli's performance. So once again, I made a right choice! See, I told you it was my lucky day!
Sept. 20 Sunday
Another tourist day! I wanted to go to Ellis Island to pay a respect to Tateh (plus my husband's grandfather who was from Spain). My friend who was going to see Cabaret with me that afternoon wanted to go to the Statue of Liberty, so we took the same ferry. She got off first and we promised to be back to the hotel by 1:00pm for the matinee show. BIG MISTAKE! It was already 11:30am and there was no way I could go back to the hotel by 1:00pm. But Kit Kat Klub was only a few blocks away, so I thought "No problem even if I'm a bit late." Well, my friend, who went to J&H the night before was upset that she did not see Cuccioli, and Rob Evan was, according to her, awful, so she said that afternoon, if she can confirm that Cuccioli would be in the show, she would ditch Cabaret!!! She has seen it in Donmar with Alan Cumming, and she wanted to compare Donmar version with NY version, but when she found out that Alan would be out for 10 weeks, she was very upset. So I called Joseph if he would like to see Cabaret in case my friend ditched the show. I couldn't get hold of him so I left a message saying I'd contact him again after 1:00pm when I'd know for sure if she was going to Cabaret or not. REAL BIG MISTAKE!
Anyway, it was really interesting to roam around Ellis Island. They had a live theatre and film theatre, both of which I had no time to see. For those are going to visit NYC and see Ragtime (a must for everybody), you'd appreciate "Amerika" and "Success" much more if you visit Ellis Island before the show.
I knew that I'd be very late, so I called the hotel and left the message for my friend. Well, when I got to the hotel, my friend was not there yet and I had a message from her saying she wouldn't make it for Cabaret so just sell the ticket. So I was to call Joseph again, but decided to check the opening time. Sure enough, the opening time was 2:00pm, and I thought it would start 3:00pm like most of the Broadway shows on Sunday! And it was already 1:50pm!! I dashed through 7th Avenue to Kit Kat Klub, and although I made it on time, there was no cancellation line in front of the Klub by that time. There, I had a ticket of the most wanted show (Mezzanine Table), and nobody to sell or even give it to! I waited for a few minutes until some lucky person walking by in vain. I gave up selling the ticket and went inside. Then there were people with a Standing Room ticket, so I talked a girl who looks like by herself to see if she wants to sit at the Mezzanine Table. And she said NO! I couldn't get it but it was her loss then. So this was my cardinal sin as a theatregoer: first, I misunderstood the opening time and almost missed it, and then I wasted a perfect and great ticket for Cabaret. If I told Joseph to wait for me in front of the Klub, at least he could have seen it, sorry Joseph!
Now, on to the show. As you know, Robert Sella was Emcee on the day I saw. Did you know he bleached his hair to blond? I saw it in New York Time two days before, and first I did not recognize him. Matter fact, I thought it was a picture of a drag queen. (I wanted to post it with this review and looked for the headshot online, but I couldn't find it anywhere) It's a headshot of Emcee with full makeup on in his black coat. The small article said that he had to extend his rehearsal for two days, and a standby Emcee took over. So it was his 5th performance as Emcee I saw that day.
So how was he? I have to answer this question everybody eager to know with a disclaimer that this was the first time I saw this production, i.e., I haven't seen Alan Cumming's performance in person. All my experience with Alan was from various TV clips of "Willkommen," Cabaret CD, and a fuzzy video of Donmar version that was broadcasted in UK. Yet, from his strong portrayal of Emcee, especially Alan's "Willkommen" was tattooed on my brain. So when I heard that Alan was taking 10 weeks off that fell right on the day I got the tickets for the show, I was devastated. I already knew Natasha was gone, replaced by Jennifer Jason Leigh, but I was not too disappointed about it, AS LONG AS I COULD SEE ALAN AS EMCEE.
I don't know Robert Sella at all, except that he was performing Side Man as a Narrator until the previous week. And I didn't see him in Side Man either. So this is the very first time I encountered with his performance, and I tried to be partial until I saw him in person on stage. Well, I said when I saw his photo on paper, he looked like a drag queen? He still looked like a drag queen on stage. Maybe because he bleached his hair, maybe the way he talked. I really couldn't pin point the reason(s) why, but his performance in the first number "Willkommen" was not powerful as Alan on TV. His introduction of Kit Kat Girls didn't draw much laughter from the audience either. My assessment of Alan's Emcee, only through TV screen, definitely had strong bisexuality in the character, and rightly so in this production. But Sella's Emcee was like drag queen-ish at first. I really love the way Alan says "ladies and GENTLEMEN," and Sella just said the line as usual (I thought I might have missed it the first time, so I paid attention each time he said, and every time he said the same). Also, maybe he was not used to it yet, but the dancing during "Willkommen" was not as raunchy or graphic as Alan's. But these are minor details that only I would pay attention (I might as well add that his singing was moderate). The most important or the most disappointing thing was that he lacked the charm Alan has and very crucial as Emcee in this production. Because, as many people have pointed out, that the role of Emcee was heavily weighted in this production (thus, Alan was nominated for Best Actor not Best Supporting Actor), and whoever plays Emcee has to have a charismatic charm that draws and lures the audience into the show immediately. I wouldn't say that Emcee has to be sexy, but IMO, an actor for Emcee in this particular production has to be able to deliver an irresistible charm and sensuality time to time.
For Sella's defense, I'd say his performance got better and better as the show progressed. I thought his "If You Could See Through My Eyes," was particularly good as well as "Money." The direction for "Money" was so right on target for this show. But "Two Ladies" was so graphic (though it was a shadow play behind the curtain), I couldn't believe that someone said before she was considering to bring her daughter (11 yr old) to this show. Okay, 11 yr old girl may haven already known almost anything (I still doubt it) but knowing something and actually seeing are two different matters. I did not agree with the idea from the beginning but after seeing the show, I'm ever convinced that I strongly disagree with the idea.
When I heard Jennifer Jason Leigh would replace Natasha, I was rather excited about it. Given a choice, I'd like to see Tony winning actress' performance, of course, but I like JJL in the movies I saw, and thought she'd give a heartwrenching and robust performance as Sally. I mean, the director and casting director must have seen something special in her to star in the most popular show on Broadway, haven't they? Whatever it was, I didn't see it or couldn't find it in her, unfortunately. Like I said, I haven't seen Natasha's Sally, thus, I couldn't compare JJL with her and I don't want to. I thought JJL would be able to portray a third-rated English cabaret singer with delicious decadence; however, she looked simply like JJL, not Sally Bowl, and even her accent was inconsistent. Like Sally is saying herself, Sally Bowl needed to be seen as "inspiring" because she is very unpredictable, fun, reckless, street-smart, and yet very charming. And I couldn't feel a hint of charm from JJL's Sally.
Sally is supposed to be a third rated cabaret singer, so I don't complain about JJL's singing skills or voice. I was still disturbed that my favorite song, "Don't Tell Mama," couldn't be heard really well because I couldn't understand what she was singing. Also, my impression of JJL could have been a little better if she sang "Cabaret" with something extra that had been missing from her performance. JJL put very little subtleties in the rendition of "Cabaret," it was unmoving until the reprise of "What good is sitting..." where she started to whisper. Or was I so detached from JJL's Sally that I couldn't get into her performance at all. I really like the way Jane in Donmar sang "Cabaret." She looked totally gone over the edge by the time she stood in front of the microphone, and sang her heart out. The last phrase, "Life is a cabaret, old chum," she was almost like shouting but I was still touched because I could see Sally's state of mind right that moment. For JJL, most of her performance was so monotone, I didn't get what she wanted to do as Sally.
At the end of Act I, "Tomorrow Belongs to Me," showed us the glimpse of the madness of Nazi, making us very uncomfortable. There was a mishap (I'll try not to give anything away) at the end. Emcee is up in the band section at this scene, but the way Sella did you-know-what (gee, it's hard to explain), it wasn't done right so majority of audience didn't or couldn't notice. It was a rather important stepping stone to the Act II, so I thought it was unfortunate. In Act II, the makeup of Emcee changes and you start feeling that the madness started taking over Berlin, and nothing can stop it. The very short and fast Act II ends with a breathtaking scene. It is slightly changed from Donmar, and the effect was impeccable. I felt like somebody was sticking a sharp knife to my throat when the golden streamers went up and saw what happened next. (There are much more to this ending but of course I won't spoil it) A very sharp and eerie ending.
This production is very "in your face" direction, which deserved Tony Best Revival indeed (but there was no contest this year, was it? I wonder if they opened at the same time with Chicago, what happened?). But without a sensual Emcee who can seduce the audience sensually and a charming Sally Bowl, dare I say, I think it's overrated? (okay, no death threat please) Again, my feeling may be totally different if I'd seen Alan as Emcee, but Alan won't be in the production forever, so soon or later, the production will be played by all replacement cast. Am I too unfair to Sella and JJL? I hope not, because at least at the beginning of the show, I really wanted to be surprised by them.
BTW, my other friend also committed the cardinal sin this day. She had an Orchestra ticket for The Lion King for matinee, which started on 1:00pm. And she was 50 minutes late! Everybody, be sure to confirm the opening time for Sunday matinee! Last Updated: October 7, 1998
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