Where Everything is New: Something Rotten! CD signing at Barnes & Noble – July 16, 2015

Another cast recording release, another CD signing – Barnes & Noble recently held a CD signing for the (physical copy of the) cast recording of Something Rotten!, including a three-song performance from the cast. These performances/signings occurred at the Barnes & Noble store on the Upper East Side (on 86th Street), which logistically makes (somewhat) sense for currently running shows, since the cast would arrive at the CD signing (which started at 4PM), perform and sign CDs then head to the theatre for the evening’s performance.

Something Rotten! CD signing Sign

As I often do, I arrived at the Barnes & Noble that morning to get the CD and the [peach] wristband that ensured me a seat inside the event. Of course, if you’ve followed the (few) blog posts I’ve written about CD signings, you’ll know that even though the [peach] wristband guarantees priority seating, I still camp out outside the event space to ensure a front row seat (I know I don’t really have to, I do it anyway), listening to the cast recording on repeat on my iPod. Other people started to arrive around a bit before noon, and I saw a few of the familiar faces I usually see at these events, which makes the time pass at a faster pace.

The cast trickled in shortly before the event start to conduct sound check (it’s always a fun to watch (and take copious amounts of photos of) the “pre-show” and see the cast go through the motions before the performance). Once again, Barnes & Noble Event manager Steven Sorrentino greeted the (very enthusiastic) crowd and introduced each song, accompanied by a pre-recorded backing track (as opposed to a piano accompanist). First to the stage were cast members Brian d’Arcy James and John Cariani singing “God, I Hate Shakespeare”, followed by Kate Reinders and John Cariani singing “I Love the Way” and ended with Christian Borle singing “Hard to be the Bard”.

Brian d'Arcy James & John Cariani - "God, I Hate Shakespeare"

Brian d’Arcy James & John Cariani – “God, I Hate Shakespeare”

Top: Kate Reinders & John Cariani - "I Love The Way" Bottom: Christian Borle - "Hard to Be the Bard"

Top: Kate Reinders & John Cariani – “I Love The Way” Bottom: Christian Borle – “Hard to Be the Bard”

Additional cast members Heidi Blickenstaff, Brad Oscar, and Michael James Scott joined the aforementioned for the customary (mini) press photo session before assuming their seats for the CD signing. The line moved at an even pace, even with the press photographers (and those waiting in line – including me) snapping photos as the CD booklets was passed down the table. There wasn’t as much chatting amongst the cast and those waiting, as there was a huge line of people waiting, and (as mentioned earlier) the cast had a 8PM show to perform.

From left to right: Michael James Scott, Heidi Blickenstaff, John Cariani, Brad Oscar, Kate Reinders, Brian d'Arcy James and Christian Borle

From left to right: Michael James Scott, Heidi Blickenstaff, John Cariani, Brad Oscar, Kate Reinders, Brian d’Arcy James and Christian Borle

The cast recording of Something Rotten! is hilarious and the show (as I understand it, as I have yet to see it, due to financial constraints) is a reminiscent of Spamalot and The Producers, with a dash of The Drowsy Chaperone  and a plethora of Shakespeare (obviously). There are hundreds (thousands?) of references to other musicals, both in the lyrics and the music, and the overall sound of the score reminds me of other great musical scores, both from the “Golden Age” as well as contemporary scores. It’s a delightful cast recording for any musical theatre fan – they’ll be laughing and singing along with the cast (as well as making a checklist of all the musical theatre references).

I also hope someone, somewhere will actually write Omlette The Musical.

Something Rotten! signed CD booklet

With Every Job When It’s Complete, There’s a Sense of Bittersweet: Musings on the Final Performance of Mary Poppins – March 3, 2013

A little Disney magic has left Broadway with the closing of Mary Poppins, though not before entertaining four million theatergoers both young and old for 2,619 performances during its six-year run at the New Amsterdam Theatre. Of the stage adaptations of Disney films, Mary Poppins is perhaps my favorite of the ones I had seen, and remains one of my favorite Disney films. As I had written roughly two months ago, I was saddened to hear of its closing (though if rumors are to believed, the next show to occupy the New Amsterdam Theater is Aladdin, so perhaps a bit of Disney magic will return to Broadway soon). Even though the LED marquee boasted that the final performance was sold out, I was able to obtain a ticket at the box office [the show was not listed on TKTS] sitting mid mezzanine (center). Indeed it was a full house, with a good percentage of the audience comprised of young children and their parents.

Mary Poppins Final Marquee

There were cheers at the very start and throughout, with massive ovations after every musical number, with a few in the mezzanine section giving a standing ovation after “Step in Time” (myself included). The cast was fantastic, giving it their all as they have at every performance – the only notable indications that it was the final performance was during “Step in Time” with Nicolas Dromard (as Bert) delivering his line (upside down after tap dancing up the perimeter of the stage) “One Last Time” instead of the usual “Step in Time”, and Steffanie Leigh (as Mary Poppins) singing her final verse with great emotion before ascending to the heavens for the last time. After the curtain call and a final reprise of “Supercalifragilisticexpialidocious”, Thomas Schumacher, President of Disney Theatrical Group, came out to thank the audience for their support and introduced to the stage the backstage crew as well as many of the children who had played Jane and Michael Banks (there have been 42 different children playing those two roles during the six-year run). Also acknowledged were several former cast members in the audience, including original cast members Ashley Brown and Rebecca Luker, and Christian Borle, before introducing to the stage (among others) musical supervisor David Caddick and composer Richard Sherman, who, with his brother Robert, wrote the original songs for Mary Poppins.

Mary Poppins final curtain call - forefront (from left to right): Elizabeth Teeter, Karl Kenzler, Steffanie Leigh, & Nicolas Dromard

Mary Poppins final curtain call – forefront (from left to right): Elizabeth Teeter, Karl Kenzler, Steffanie Leigh, & Nicolas Dromard


Curtain Call - forefront: Richard Sherman & Thomas Schumacher

Curtain Call – forefront: Richard Sherman & Thomas Schumacher

There was a respectable crowd at the stage door (I suspect had it not been a chilly evening, the crowds would have been larger), waiting to greet the cast and show their appreciation. Despite the cold and the wind, the crowd waited and as the cast came out, there were hugs and conversations aplenty, with great appreciation from the cast of the crowd that remained waiting a little over an hour, along with the usual signing of playbills, posters and programs and posing for photos.

All in all, it was a magical experience to witness, though I must say that I’ve (sadly) seen too many closing performances of shows I love over the years. Then again, perhaps Mary Poppins’s job on Broadway is complete, and the show is needed elsewhere. Maybe we’ve got to get through things now on our own, but one this is for sure – like the Banks family, I’ll never forget Mary Poppins.

Final Mary Poppins playbill signed


Like Something is Brewing and ‘Bout to Begin: Thoughts on Mary Poppins

It’s pretty much a well-known fact that Disney is synonymous with magic – that magical quality that leaves visitors to their various theme parks as well as those who have watched their films in a state of gleeful wonder. The same can also be said for the young and the young at heart that experience a stage adaptation of their films. Mary Poppins has a wealth of this Disney magic, coupled with a heartwarming tale of a disjointed family finding their way back to one another with some guidance from that “practically perfect” nanny. While it has been a few years since I last saw the production, the announcement that the show would be closing on March 3, 2013 prompted me to write this blog – I fully intend to return to see the show, and perhaps also attend the final performance.


The first time I saw Mary Poppins was on October 4, 2007, roughly a year into its run playing at the New Amsterdam Theatre – I had obtained a ticket (per usual in the Fall) via the TDF ticket raffle table at the Broadway Cares/Equity Fights AIDS Flea Market & Auction. The film has always been one of my favorite Disney films, and I had been looking forward to seeing how it would be adapted for the stage and the changes that were required for the stage. Firstly, there were new songs written for the stage, some added/changed lyrics to the existing songs and some of the songs that were in the film were not included in the stage production. Also, while the overall story remains the same, some elements were changed to bring the tone a few shades darker (but not too much, after all, this still a Disney tale) than the film, which was more whimsical; the changes were necessary and made sense for a two act musical, and probably would not have worked as well for the film.

The scenic design was astounding, with the set of No. 17 Cherry Tree Lane moving fluidly from the living room to the children’s nursery and then to the rooftop, as well as the inventive 3D appearance of the bank at which Mr. Banks works, and the fanciful park sequence during “Jolly Holiday”. The choreography was also amazing, especially the sequences for “Step in Time” and “Supercalifragilisticexpialidocious”. To this day, I am perplexed how Spring Awakening won the Tony Award for Best Choreography over Mary Poppins. For the record, I did see Spring Awakening, and found much of the choreography lacking, as it looked (to me at least) like the cast was randomly flailing around the stage. I have been informed by friends are knowledgeable about such things that the choreography for Spring Awakening was an example of modern dance; I suppose I’m more old school about stage choreography.

But I digress.

As expected, there were many magical moments that were recreated on stage as they had been in the film, such as Mary Poppins’ “it’s bigger on the inside” carpet bag from where a multitude of items are extracted, and the aforementioned dance sequence for “Step in Time” (with an added thrill of Bert tap dancing up the side of the proscenium of the stage and upside down), and of course the most magical moment of all (and I’m pretty sure everyone has either seen the stage production or the TV commercial for the musical, so it’s not that much of a spoiler) – Mary Poppins making her final exit by flying across the stage, then above the audience. I will say that I had not seen the TV commercial (and I don’t think that bit was included in the commercial) and I vividly remember being absolutely awestruck the first time I saw this – while I had seen her fly across the stage earlier in the show, I had been truly unprepared (though I probably should have deduced it would happen) to see her actually fly (and of course, she was on a wire, which was visible from the lighting around her) above the audience from the stage to the balcony.

The casts I’ve seen were astounding and truly look like they’re having the time of their lives on stage – Ashley Brown and Gavin Lee, the original Mary Poppins and Bert were amazing and had a great rapport with one another. Their respective successors, Laura Michelle Kelly (who had originated the role in London) and Christian Borle were equally amazing. I did not stage door that night, but did on my subsequent visits to the show – the stage door experiences were always wonderful, with mostly young children (more girls than boys on the occasions I’ve waited at the stage door) and their parents. The cast was always happy to sign playbills, chat with the kids and pose for photos.

Clockwise from top left: Ashley Brown, Gavin Lee, Christian Borle & Laura Michelle Kelly

Clockwise from top left: Ashley Brown, Gavin Lee, Christian Borle & Laura Michelle Kelly

It’s a shame that the show is closing, though six years is a respectable run (especially in this day and age when some productions have significantly shorter runs) – it’s one of the few family friendly musicals remaining on Broadway, and its six-year run is a testament to its longevity. I have a feeling that when Mary Poppins flies off into the night for the last time on March 3, 2013, a little of that Disney magic will also be leaving Broadway.