“Next to Normal" in London: Caissie Levy Delivers a Once-in-a-Generation Performance (today's MARQUEE)Broadway’s 2010 Pulitzer-winner about bipolar disorder outdoes itself in the West End
Shalom, Broadway lovers!In today’s MARQUEE: The Broadway Maven’s Weekly Blast: a review of an extraordinary performance of Next to Normal in London; a Piano Talk about song structure in Guys and Dolls; a review of a London revival of Heathers; a survey about Les Misérables; a homework video for Monday’s Into the Woods class; and a Last Blast about Wicked. In today’s Premium edition of MARQUEE: The Broadway Maven’s Weekly Blast: a review of an extraordinary performance of Next to Normal in London; a Piano Talk about song structure in Guys and Dolls; a review of a London revival of Heathers; a survey about Les Misérables; a homework video for Monday’s Into the Woods class; and a Last Blast about Wicked. NOTE: The calendar for the second semester of 2024 Broadway Maven classes has been announced, and a July-December ALL-ACCESS Pass is now on sale. Get automatic access to 50 classes for just $99. Includes a 6 months’ Premium subscription to MARQUEE (a $30 value), access to the archive, two bonus classes only for ALL-ACCESS Passholders, and periodic drawings for off-Broadway and Broadway tickets, including at least one opening night. Classes offered include Rodgers & Hammerstein, Stephen Schwartz, “Sondheim Academy,” Jewish Broadway, Lyrics & Lyricists, and more. JUST ANNOUNCED: FREE four-part Rodgers & Hammerstein course every Monday in August at Noon and 7 pm ET.
REVIEW: London's recently opened Next to Normal is truly next to none. The show, which won the 2010 Pulitzer Prize for Drama, is even better in its West End iteration than it was on Broadway a decade-and-a-half ago. Here’s why: • Caissie Levy’s performance as Diana Goodman, a suburban mother suffering from bipolar disorder, is stunning. Levy, who was beloved as Princess Elsa in Broadway’s Frozen, really lets it go with both acting and singing that outshines any fellow actresses of her generation. Her rendition of the soaring, soulful “I want” song “I Miss the Mountains” will stay with me for a long time, as she nailed the angst of a woman whose manic-depressive illness both comforts and unnerves her. • The character of Diana’s daughter Natalie has been re-envisioned, and for the better. The Broadway Natalie’s troubles seemed to stem from her abuse of her mother’s psychiatric medicines, despite a few lines from her mother suggesting the daughter may be bipolar as well. The West End Natalie is clearly suffering from mental illness, which leaves more room for creative expression and underscores the intergenerational nature of conditions like bipolar. I don’t know if the credit should go to actress Eleanor Worthington-Cox or director Michael Longhurst, and I guess it doesn’t matter. I just hope future productions of the show (Broadway, anyone?) will follow their lead. • The music by Tom Kitt scores again, and the book and lyrics by Brian Yorkey still speak with a deep understanding of the struggles of the mentally ill. But somehow they work better in London. The reputation of the show is that the first act will make you hum and the second act will make you cry, but in this show I found myself doing both in each act. I can think of few better reasons for Broadway lovers to cross the pond, but curious Americans had better hurry. This strictly limited run closes September 21. MILESTONE: The Broadway Maven YouTube channel recently published its 400th (!) video. Visit the channel here. Highlights include more than 30 Broadway quizzes; interviews with Broadway celebrities like Winnie Holzman and Ann Harada; a Stephen Sondheim playlist with 57 videos related to aspects of The Master’s work; playlists for other composers like Andrew Lloyd Webber (16 videos) and Stephen Schwartz (6 videos); and playlists for individual shows like Into the Woods (7 videos), Les Misérables (7 videos), and Fiddler on the Roof (10 videos). The channel has 3,300 subscribers and is on its way to a half-million views.
HOMEWORK: To prepare for Monday’s Into the Woods class watch this 10-minute version of the show. What is the theme of Into the Woods? Explain your answer in the comments. 
This class will delve into the complex themes, brilliant music, thought-provoking lyrics, and the clever book (by James Lapine). We’ll explore how the show has captivated audiences and critics, its film adaptations, and different interpretations. Is the show Freudian, or Jungian, or something else? What is "the bean theme" and what role does it play in the show? What is the show's best wordplay? Music educator Mateo Chavez Lewis will join us at his piano with an all-new insight into this musically intricate show. Don’t miss your chance to enhance your understanding and appreciation of Sondheim’s masterpiece with insights from David Benkof, the Broadway Maven. Register now to secure your spot in this FREE online class.
Note: Links to register for ALL classes are always available at TheBroadwayMaven.com.• Monday, July 15 Noon and 7 pm ET Into the Woods (FREE) • Friday, July 26-Sunday, July 28 BroadwayCon in Times Square (at least two panels hosted by The Broadway Maven) • Monday, August 5 Noon and 7 pm ET Oklahoma! class (FREE) • Tuesday, August 6 Noon ET Godspell class ($12, registration opens soon) • Monday, August 12 Noon and 7 pm ET Carousel class (FREE) • Tuesday, August 5 Noon ET Pippin class ($12, registration opens soon) • Monday, August 19 Noon and 7 pm ET South Pacific class (FREE) • Tuesday, August 20 Noon ET Wicked class ($12, registration opens soon) • Monday, August 26 Noon and 7 pm ET The Sound of Music class (FREE) • Tuesday, August 27 Noon ET Lesser-known Schwartz class ($12, registration opens soon) • Mondays in September: Noon and 7 pm ET Jewish Broadway series • Tuesdays in September: Noon ET Sondheim Academy Act Three NOTE: As always, ALL-ACCESS Passholders do not have to sign up or pay for anything. Just show up!
LAST BLAST: When Elphaba sings about “Defying Gravity” at the end of Wicked’s Act One, she’s not just referring to the Newtonian physics needed for her broom to take flight. She’s been grave – deeply serious – throughout the first part of the musical, such as when she passionately defends Doctor Dillamond against discrimination and earnestly seeks to apprentice herself to the wizard she idolizes. Elphaba’s business-like approach to learning wizardry helps explain her disconnect with her roommate Galinda, who exudes a more carefree outlook. So her decision to “close my eyes and leap” enable her to re-orient the world in a way that enables her to be a hero, a lover, and a friend. Broadway Maven David Benkof helps students further their appreciation of musical theater through his classes, his YouTube channel, and MARQUEE: the Broadway Maven’s Weekly Blast. Contact him at DavidBenkof@gmail.com. Invite your friends and earn rewardsIf you enjoy MARQUEE: The Broadway Maven's Weekly Blast, share it with your friends and earn rewards when they subscribe.
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“Next to Normal" in London: Caissie Levy Delivers a Once-in-a-Generation Performance (today's MARQUEE)
July 11, 2024
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