Your Chance to Catch FALSETTOS on Screen in Bloomington July 12, 15 and 16

The recent Broadway revival of Falsettos -- the William Finn and James Lapine musical about a gay Jewish man named Marvin, his ex-wife, his son, his new lover, his psychiatrist (who is smitten with Marvin's ex) and the two lesbians next door -- ended its run at the Walter Kerr Theatre on January 8.

To share the Falsettos joy with those who didn't get to see it in New York, Live from Lincoln Center and Lincoln Center Theater are bringing a filmed version of the show to cinemas nationwide starting July 12.

That means we can all share the Falsettos experience, as Marvin falls in love with Whizzer, his new boyfriend, his son Jason prepares for a bar mitzvah, and ex-wife Trina tries to navigate this new world, with some funny stuff and some very sad stuff, offering a portrait of some of the highs and the lowest lows imaginable for gay men in 1979, when it's set. The 1992 Broadway production won Tony Awards for its score and book, with five more nominations, and the recent revival was nominated for five more, including nominations for its Marvin (Christian Borle), Trina (Stephanie J. Block), Whizzer (Andrew Rannells) and psychiatrist Mendel (Brandon Uranowitz).

We have two options to experience Falsettos in Bloomington, with New Vision Ovation Cinema Grill off Towanda-Barnes Road and Wehrenberg Galaxy 14 on Wylie Drive both offering screenings. Falsettos shows up on the Ovation screen on July 12, 15 and 16 and at Galaxy 14 on July 12 and 16.

For more details or to get your tickets now, or if you are looking for showings in other places than Bloomington-Normal, you can visit this Falsettos page at Screen Vision.

SIX BY SONDHEIM: Tonight, Tonight Won't Be Just Any Night

The lyrics for "Tonight" from West Side Story -- all the lyrics from West Side Story, from "The Jet Song" to "Somewhere" and "Gee, Officer Krupke" -- are wonderful. And who wrote them? Stephen Sondheim. So when I put "Tonight, tonight won't be just any night" in the header, yes, I was quoting his lyrics. But mostly I was referring to the fact that there's a special documentary on HBO tonight. It won't be just any night. Tonight there will be Six by Sondheim!

If you've read Sondheim's first book about his lyrics, Finishing the Hat, you know that he wasn't completely in love with what he wrote for West Side Story. Leonard Bernstein, the composer, wanted "poetic" lyrics that Sondheim felt were at odds with Arthur Laurents' dialogue as well as how he felt a boy like Tony and a girl like Maria would really speak. I'm guessing that will be part of the discussion in Six by Sondheim, which is structured around six songs in the Sondheim ouevre.

The first song discussed is "Something's Coming" from West Side Story, a show early in Sondheim's career for which he did the lyrics but not the music. That came from Bernstein, as noted above. For that reason, it provides an entry point into Sondheim's work for James Lapine, who directed this documentary. Lapine is a frequent collaborator with Sondheim; Lapine wrote the book for and directed Sunday in the Park with George, Into the Woods and Passion, directed Merrily We Roll Along, and conceived and directed Sondheim on Sondheim, a biographical Broadway show that used video and music to look at his life and work.

Six by Sondheim performs that same function, using six seminal pieces and Sondheim's thoughts about how and why he created them to chart the different phases in his career. Larry Kert, the first Tony in West Side Story, performs "Something's Coming" in a clip from the 50s, followed by "Opening Doors," the jaunty number about what it is to start out as an adult in the world from Merrily We Roll Along. For Six by Sondheim, "Opening Doors" gets a fresh performance from Glee's Darren Criss, Ugly Betty's America Ferrara, and Smash and Newsies star Jeremy Jordan, with Jackie Hoffman from The Addams Family, Laura Osnes, currently starring in Cinderella, and Stephen Sondheim himself in the mix.

Husband and wife Broadway stars Will Swenson and Audra McDonald, who is fresh off her triumph as the Abbess in The Sound of Music, will sing Sondheim's biggest hit as a single, "Send in the Clowns" from A Little Night Music, after we get a chance to see video of some of the very different artists -- Glynis Johns, Frank Sinatra, Cher -- who performed it over the years.

And then it's "I'm Still Here," the wry Follies song about surviving "good times and bum times," "plush velvet sometimes, sometimes just pretzels and beer..." Instead of giving it to the aging showgirl-turned-Hollywood-star described in Follies, Lapine turns the "I'm Still Here" segment over to director Todd Haynes, who has Jarvis Cocker of the rock band Pulp perform it in front of the kind of women it's about. A provocative choice, to be sure.

It's back to the vault for footage of Dean Jones trying to get "Being Alive" right, taken from the D.A. Pennebaker documentary about the recording of the cast album from the first Company. The evening ends with "Sunday," the soaring piece about how art can immortalize, as performed by Bernadette Peters and Mandy Patinkin in the Broadway production, captured for television broadcast on American Playhouse. Ending with "Sunday"? Perfection.

I loved Sondheim on Sondheim. I loved the two volumes he wrote -- Finishing the Hat and Look, I Made a Hat -- that go into detail about his lyrics. You can never get enough Sondheim, after all. Which is why Six by Sondheim is a must-see, tonight at 8 Central time on HBO.

GEORGE and GOOD PEOPLE Score at Chicago's Joseph Jefferson Awards

Chicago's Joseph Jefferson Awards for Equity productions were handed out last night, with Steppenwolf's production of David Lindsay-Abaire's Good People and Chicago Shakespeare Theatre's Sunday in the Park with George taking home the big awards.

I saw that Sunday, and it was a beautiful and emotional experience. I chose to end my end-of-the-year post with it, as a matter of fact. Jeff voters chose this Stephen Sondheim/James Lapine show as the best musical of the year in the "large production" category, and also honored director Gary Griffin. Although stars Jason Danieley and Carmen Cusack (seen at right) were nominated, the awards for best actor and actress in a musical went to Bill Larkin for his performance as Edward Kleban in A Class Act at Porchlight and Christine Sherrill in Sunset Boulevard at Drury Lane. A Class Act and Porchlight also won the "midsize" musical award, with Callie Johnson's performance in Pal Joey at Marriott honored as best cameo and Alexis J. Rogers' work in Lady Day at Emerson's Bar and Grill at Porchlight named best solo performance.

Andre De Shields' star turn in the Goodman's Jungle Book won in the supporting actor in a musical category, while Bethany Thomas was named best supporting actress in a musical for South Pacific at the Marriott Theatre.

Steppenwolf's Good People took top honors as the best play by a big theatre, but William Brown, who directed The Liar for Writers Theatre, was named best director of a play. Still, Good People star Mariann Mayberry, who also happens to be an alum of Illinois Wesleyan University, was honored as best actress for her terrific work as a blue collar Boston woman whose life has hits the skids. And Michael Shannon, whose career has blown up big-time, won best actor in a play for Sam Shepard's Simpatico at Red Orchid Theatre, his stomping grounds before Hollywood and Broadway came calling.

Mariann Mayberry and Keith Kupferer in Good People

Awards in the supporting categories for plays went to Raymond Fox for Blood and Gifts at TimeLine and Elizabeth Ledo for Tartuffe at Court Theatre. TimeLine also picked up the best "midsize" play award for its production of Moises Kaufman's 33 Variations.

The Second City Guide to the Opera, a collaboration between Second City and the Lyric Opera, was named best revue, with director Billy Bungeroth also honored. Best actor in a revue went to David M. Lutken, who played Woody Guthrie in Woody Sez: The Life & Music of Woody Guthrie, a revue at Northlight Theatre in Skokie.

Best ensemble was the cast of Othello: The Remix at Chicago Shakes, and best new work was shared by Luis Alfaro, for Mojada at Victory Gardens, and Rajiv Joseph, for The Lake Effect at Silk Road Rising.

You can see all the complete list of nominations and winners here, including all the technical awards and the best choreography honor, which went to Linda Fortunato, choreographer of 42nd Street at Theatre at the Center in Munster, Indiana. Fortunato's father is Jerry Parsons, longtime teacher and coach at Normal U-High, and her mother is Marcy Parsons, who is involved with Illinois Voices Theatre and could be found again volunteering her services at the Discovery Walk at Evergreen Cemetery last month.

On Sunday, My Thoughts Turn to "Sunday," Coming Soon to Chicago Shakes

Chicago Shakespeare Theatre's Associate Artistic Director, Gary Griffin, has made a cottage industry of directing Sondheim shows at Chicago Shakes, with much acclaimed productions of "Follies" last year and "Pacific Overtures" and "Sunday in the Park with George" before that, upstairs in the smaller theater.

Griffin and Sondheim will be back in business later this month, with a new "Sunday in the Park with George" in the larger Courtyard Theatre at Chicago Shakespeare Theatre on Navy Pier. Given how wonderful Griffin's black-box production was back in 2002, this one on the main stage is eagerly anticipated. Tickets are on sale now and likely to go fast, if the "Follies" pattern is repeated.

"Sunday in the Park with George" is a natural for Chicago audiences, given that the painting ("A Sunday Afternoon on the Island of La Grande Jatte," seen below) which serves as inspiration for the Sondheim/Lapine musical hangs at the Art Institute of Chicago. You can (and should) check out the painting and the musical in the same trip. Seurat worked in tiny dots of color in a technique called "pointilism," which informs the style and themes of "Sunday in the Park with George."

The cast for this production includes Broadway star Jason Danieley (once noted for having "the most exquisite tenor on Broadway" by Ben Brantley of the New York Times) as artist Georges Seurat, and Carmen Cusack, probably best known for playing Elphaba in the touring production of "Wicked" that came through Chicago, as Dot, Seurat's model and muse.

Others in the cast include Chicago favorites Sean Fortunato, Kevin Gudahl and Heidi Kettenring. And Illinois Wesleyan University School of Theatre Arts has informed us that Sarah Bockel, who graduated from their Musical Theatre program in 2010, is also part of the ensemble as an understudy for several roles, including those played by Elizabeth Lanza, herself an IWU alum from 2007.

"Sunday in the Park with George" happens to be the second show I saw on Broadway, and I have fond memories of it and my own reaction to it. If you are involved in any kind of artistic endeavor, its messages about art, the creative process, color and light, the fleeting nature of life, putting the pieces of one's life and work together, and ultimately moving on, can be very moving and profound.

People strolling through the trees

of a small suburban park

on an island in the river

on an ordinary Sunday

Sunday...

Sunday...

"Merrily" Keeps Rolling in PS Classics Cast Recording

When Stephen Sondheim's "Merrily We Roll Along" played earlier this year as part of New York City Center's Encores! series, PS Classics got to work almost immediately to capture the performance by way of a cast recording. That was great news for Sondheim enthusiasts unable to make it to New York to see it in person.

Even better, this two-disc "Merrily" is the usual top-notch PS Classics production, "complete with 52-page full-color booklet with essay, synopsis, lyrics, production photos and an expansive note...by Jonathan Tunick."

Part of the note is reproduced here at the PS Classics site so you can see some of Tunick's inside scoop as a special treat even before you get the cd.

And make no mistake -- you need to get this cd. "Merrily We Roll Along" is one of those special Sondheim shows that fans adore and other people tend to just not get. It goes backwards. It has an unhappy ending (that comes at the beginning) as we see exactly where Franklin Shepard, the talented guy at the center of the show, went wrong. It features talented people (Frank and his two best pals, Mary and Charley) who can't seem to find a way to truly share their talents or keep their friendship going because of the kind of compromises, mistakes, and loss of ideals that pretty much happens to everyone. Wasted talent. Broken friendship. Middle-age ennui. All unwinding backwards, from that middle-aged low point through trial and tribulation, frustration and betrayal, past fledgling success and early steps in the right direction, till we're back with Frank, Mary and Charley before it all began, as fresh, starry-eyed kids, ready to take on the world.

So, yes, "Merrily We Roll Along" is bittersweet, and it's fair to say that critics and audiences have not always embraced it. The original "Merrily" Broadway production, the one in 1981 with Jason Alexander and Liz Callaway in the cast, ran for 52 previews and only 16 performances, with New York Times critic Frank Rich calling the show a shambles. He began his review, "As we all should probably have learned by now, to be a Stephen Sondheim fan is to have one's heart broken at regular intervals."

Still, the show has been produced in London, Washington DC, LA, and back in New York, Off-Broadway at the York Theatre in 1994. Oh, and in Central Illinois. I've seen one in Bloomington-Normal and at least two in Champaign-Urbana.

But the Encores! production was something special. With Jonathan Tunick rethinking the orchestrations (as he mentioned in that note linked above), with James Lapine once again directing, with conductor Rob Berman leading a 23-piece orchestra, with stars like Colin Donnell, Celia Keenan-Bolger and Lin-Manuel Miranda playing Frank, Mary and Charley, it was a "Merrily" a lot of people had been waiting for.

The PS Classics cast recording, produced by Tommy Krasker with his usual attention to detail and a clear love for the material, comes off beautifully. It looks good, with enough pictures and a detailed synopsis to give you a real feel for the production, plus pieces of dialogue to enhance the music.

And, oh, the music. "Merrily We Roll Along" has several standout songs, like the beautiful and sad "Not a Day Goes By," which sounds as haunting as ever from Donnell, Keenan-Bolger and especially Betsy Wolfe, playing Beth, Frank's first wife. Miranda adds the warmth and charm I expected to all of his numbers, but especially "Franklin Shepard, Inc." And Keenan-Bolfer surprised me. After her performance in "25th Annual Putnam County Spelling Bee" as soft, sweet Olive Ostrowski, I wasn't sure she could go caustic and cranky enough for Mary in "Merrily." But she sounds just fine when that's what's called for ("That Frank"), and she adds a sweet neurotic side to Mary in the early going that is quite endearing.

"Opening Doors" is another highlight, and by the time they got to "Our Time," the bright, shiny end of the show, I was a believer in all three of Donnell, Keenan-Bolger and Miranda.

To be perfectly honest, I was already in love when Berman and his orchestra began the overture. All of "Merrily We Roll Along," all the yearning, dashed hopes and yes, the spark of optimism, that these kids may just make it out okay, is right there.

The "Merrily We Roll Along" cast recording was released July 10, and it is available directly from PS Classics. You gotta have this. You know you do!