We Open in London: This Season's Royal Revivals of Kiss Me, Kate and Starlight Express (today's MARQUEE)Two fab shows return to the West End in spectacular new productions
Shalom, Broadway lovers!In today’s edition of MARQUEE: The Broadway Maven’s Weekly Blast, a joint review of two excellent revivals now playing in London: Kiss Me Kate and Starlight Express; a homework video for next month’s Oklahoma! class; and a Last Blast about Sunday in the Park with George. Premium subscribers also get a Piano Talk about women’s voices in Sondheim; a Broadway Blast about Guys and Dolls and Mamma Mia!; and an editorial about protecting the privacy of actors in nude roles. 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. AUGUST: FREE four-part Rodgers & Hammerstein course every Monday in August at Noon and 7 pm ET; and a four-part Stephen Schwartz course every Tuesday in August at Noon ET.
REVIEW: On my recent trip to London I saw a theatrical “Fab Four” of excellent revivals of beloved shows. Reviews of Next to Normal -- the crown jewel of the quartet – and the recently closed production of Heathers appeared in MARQUEE last week, but here’s why the other two are also fit for a king. I loved London’s new production of Kiss Me, Kate. As fans of classic Broadway know, the show revolves around the production of a musical version of Shakespeare’s The Taming of the Shrew. The intricate plot follows the on- and off-stage antics of the cast, particularly the tumultuous relationship between the director and leading man, Fred Graham, and his ex-wife, Lilli Vanessi, who stars opposite him. As they navigate their personal and professional conflicts, the lines between their characters and real-life personas blur. Hilarity – and romance – ensue. The Kiss Me, Kate revival features a strikingly huge rotating tripartite set. The segments spotlight the stage for the play within the play; the dressing rooms and backstage; and the outdoor space just outside the theater. Cole Porter’s music and lyrics are incomparable, of course, and they feel fresh even though the show is three-quarters of a century old. Broadway diva Stephanie J. Block plays Lilli, but I saw an understudy, Anna McGarahan, who played the role for her first time with the talent of a seasoned performer. She acted the hell out of the angry number “I Hate Men,” and the audience roared. The choreography and dancing, especially in the Act Two opener “Too Darn Hot,” were well-integrated into the plot and used the expansive set quite effectively. I’ve never seen a performance of the show’s classic, hilarious song “Brush Up Your Shakespeare” that was as funny as this one. As always, the contrast between the street smarts and surprising theatrical knowledge of the gangsters who sing it was fun, but here the blocking, costuming, and timing were spot-on. One misstep, though, is the casting of British TV star Adrian Dunbar (the BBC’s Line of Duty) as Fred. The role is intended for men in their 30s or 40s, and at 65, Dunbar (otherwise a talented and popular performer) just doesn’t have the sex appeal to make his allure believable. Fred’s “Where is the Life that Late I Led?” song is supposed to be about all the women he had to give up for marriage, but instead of a playboy he comes off as a bit of a dirty old man. (He also can’t quite nail the American accent.) Now, the final standout revival I saw, Starlight Express, has to be judged for what it’s trying to be – and that ain’t Shakespeare. (Or even Cole Porter.) Starlight Express is spectacular, particularly in the word’s narrow sense, since it truly is a spectacle. From the moment you enter its cavernous space-themed lobby, it becomes clear you are not seeing a traditional Broadway show. Starlight Express is an Andrew Lloyd Webber musical that celebrates trains, roller skates, and child-like imagination. “Control,” a young boy (in my performance, but sometimes it’s a girl) who likes to invent stories with his toys, arranges a series of tournaments between trains powered with different fuels, whether diesel, electric, or steam. The racetrack for the roller-skating cast circumnavigates the custom-built theater, with some audience members (including me and my friend!) in “carriages” surrounded by skating trains. The costumes and makeup are a highlight of the show, and they’re laid on so thick that it’s sometimes hard to even tell the races or genders of some performers. Which is good, since trains don’t have races (well, not those kinds of races) and some of the roles are gender-swapped anyway. Notably, this show’s Greaseball is a woman. Certainly, the plot is mindless and fairly straightforward, and the lyrics are sometimes painful (with “must be” a failed rhyme for “Rusty” and “freight is great” being the actual refrain of a song). But this is not a show for connoisseurs of plot and lyric. It’s a chance to revel in some great Andrew Lloyd Webber songs (I especially liked “Crazy” and “U-N-C-O-U-P-L-E-D”) and get swept away by the controlled chaos that surrounds you. This is a great show for families; the girls in the row in front of me were absolutely entranced. It’s also for fans of Andrew Lloyd Webber music and those looking to be swept away by a theatrical experience they won’t soon forget. ANNOUNCEMENT: The Broadway Maven is now coordinating four panels at BroadwayCon July 26-28. In addition to previously announced panels (The Art of the Lyric and Another Hundred Insights: Sondheim Through a Maven’s Lens), the following two have just been announced: • Class Acts: High School Musicals from Mean Girls to Heathers and Beyond. (includes Nell Benjamin, Lawrence O’Keefe, Tom Kitt, and Mateo Chavez Lewis) • From Driving Miss Daisy to Parade: A Conversation with Alfred Uhry ANNOUNCEMENT: Broadway Maven David Benkof is available to speak via Zoom and in person to congregations, schools, organizations, and community groups. Topics include Stephen Sondheim, Lyrics and Lyricists, Jewish Broadway. Contact DavidBenkof@gmail.com for more information.
Your FREE Rodgers & Hammerstein course kicks of August 6 with a class on Oklahoma!. To start preparing, watch the video below, which offers several fresh ways of thinking about this classic musical, from the character names to the significance of the first song. 
Join Broadway Maven David Benkof for an exclusive four-part series on the works of legendary composer and lyricist Stephen Schwartz. This special event, taking place every Tuesday in August 2024 from Noon to 1 pm ET, offers an in-depth exploration of Schwartz's most iconic musicals, as well as his lesser-known gems. Whether you're a long-time fan or new to his work, this series is designed to enrich your understanding and appreciation of one of Broadway's most influential figures. $12 per session or $36 for the series.
Note: Links to register for ALL classes are always available at TheBroadwayMaven.com.• Friday, July 26-Sunday, July 28 BroadwayCon in Times Square (four 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, or $36 for the series) • Monday, August 12 Noon and 7 pm ET Carousel class (FREE) • Tuesday, August 5 Noon ET Pippin class ($12, or $36 for the series) • Monday, August 19 Noon and 7 pm ET South Pacific class (FREE) • Tuesday, August 20 Noon ET Wicked class ($12, or $36 for the series) • Monday, August 26 Noon and 7 pm ET The Sound of Music class (FREE) • Tuesday, August 27 Noon ET Lesser-known Schwartz class ($12, or $36 for the series) • 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: The art of the title character in Sunday in the Park with George reflects everything his personal life is missing; he is clueless in romantic and other interpersonal relationships, so focused is he on his creative career. Despite his genius, George’s intense devotion to his craft renders him emotionally unavailable, often leaving those closest to him – especially his partner Dot – feeling neglected and misunderstood. She craves emotional intimacy and understanding, highlighting the stark contrast between his vibrant canvases and his more muted personal interactions. His social awkwardness means he “fails to connect the dots” and is stuck with a colorless life, which is exactly the opposite of his pointillist paintings, in which his multi-hued brush strokes are connected by the viewers to create lush, beautiful paintings. 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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We Open in London: This Season's Royal Revivals of Kiss Me, Kate and Starlight Express (today's MARQUEE)
July 18, 2024
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