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How to Deal, Featuring Andrew Jackson

Grief does some crazy, silly, stupid things.  Or it drives people to do crazy, silly, stupid things, I guess.  Case in point: I spent last Monday night sifting through a jar of over $750 worth of those glittery $1 coins searching for one with Andrew Fucking Jackson on its face.  This took easily an hour.

My uncle passed away suddenly two weekends ago.  At 53 he was too young to die, but he’d lived more than forty years with Type I Diabetes and it was weighing heavily on his health.  Today his suffering is over.  Today, he is at rest.

In his life, Rick was a ball-breaker extraordinaire with a big mouth, an opinion on everything and a slightly incongruous compulsive collecting habit.  When I returned home last Monday night, two enormous jars were sitting on the counter in my parents’ kitchen, filled with coins.  One jar contained only silver colored coins and the other, larger jar was full of gold $1 coins.  You know, the ones you curse about whenever an MTA machine spits a fistful of them back out at you?  Yeah.  Those.

After my parents went to bed that night I found myself in the kitchen alone, just staring at the jar of gold coins blankly, trying to absorb everything.  I don’t know what, exactly, drove me to open it up and reach inside, but while sifting through a handful of coins, I realized the new Presidential series coins were mixed in with the more familiar Sacajaweas (and the occasional really old Susan B. Anthony).  Zachary Taylor was the first President I came across and suddenly, I knew what I wanted to do.  I wanted to get my hands on Mr. Jackson.  Before I knew it, I was sitting at the computer and Google was telling me AJ had been released in 2008.  In other words, I could be relatively certain he was buried somewhere in that jar.

Sifting through the jar with my new sense of purpose, I organized the coins into piles by the President (or woman) on the face.  In about twenty minutes I’d found Andrew Jackson, but somehow, I still didn’t feel satisfied.  Somehow, this wasn’t enough.  As I’d been sorting coins I realized all of AJ’s friends and enemies were in that jar too—James Monroe (douchebag), John Quincy Adams, even Martin Van Buren.  I wanted to have stacks of each.  No.  I needed to.

By the end of the search, when I was finally able to let myself stop, I’d sorted over $175 worth of coins into piles.  I had small stacks of George Washington, Zachary Taylor, James Madison, Thomas Jefferson, John Adams, Franklin Pierce, John Tyler, James K. Polk, William Henry Harrison, and even a single Millard Fillmore.  Most importantly, though, I had 5 each of James Monroe, John Quincy Adams and Andrew Fucking Jackson, and I’d even found 3 Martin Van Burens (he was the most elusive and incidentally, the funniest looking).  I kept two of each and threw the rest back into the jar.

I don’t know what—if anything—I’m going to do with these coins.  My tiny New York City apartment already has way too many things inside it.  I don’t even know why it was suddenly so important to me to find AJ and those doily-wearing muffin tops.  But there was something soothing in it, and something innately hilarious, too.  I laughed at myself, and I cleaned up my mess, and I felt better about a lot of things.

I guess, in some small way, it was a tribute to my Uncle Rick, and the things he’d collected over his lifetime, in hopes that he could leave something of value behind for his nieces and nephews when he passed away.  Maybe, in keeping some of what he’d left to us—the pieces that were strangely important to me on that day in the fall of 2010—I am writing my own chapter in his legacy.  Maybe someday my children or nieces and nephews or grandchildren will be sorting through a lifetime of my belongings and find—amongst the piles and piles of playbills—my collection of $1 coins and wonder why exactly I chose those 4 characters to keep in my life.  Who knows.  Maybe they’ll already understand.

Photo: The Craptacular

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Proof that it happened.

Everyone bitched so much about the past Broadway season. The new musicals were lackluster (Memphis) or obscure (Fela!) or alienating (American Idiot). The revivals were flat (A Little Night Music) or dated (La Cage).

So of course there was some surprise when 2009/2010 Broadway season, now officially over to the tune of 5 months, suddenly got really interesting. It was a little slow on the uptake, but the events of the last few weeks have more or less redeemed last season, even if it did take until this season to do it.

Suddenly there were a couple of marquee-worthy performances on Broadway. Not B-listers in search of cred, or Hollywood refugees pandering to some producer’s desperation for a name above the title. But real stars, ones who can actually sing and act, and whose casting in a Broadway show makes complete, logical sense.

Enter Bernadette Peters, who replaced Tony-winning Catherine Zeta-Jones in A Little Night Music in August, and who is currently giving the single best performance on Broadway. As the vivacious, past-it actress Desiree Armfeldt, she brings a searching vulnerability—and taut-as-a-bowstring delivery—to the role. Her “Send in the Clowns” is the best on Broadway in recent memory, too, and we had about eight versions to choose from. Peters’s Desiree isn’t just nostalgic or arch at the thought of lost love and missed opportunity. She’s shattered. Smart enough to see her mistakes but only in hindsight, the entire song reads like a furtive glance backward—an inevitable instant of regret in a passionate life. It’s a remarkable performance, and the audience is utterly silent throughout, as though the whole rest of the show has been nothing more than a jaunty warmup.

The other performance that turned heads on Broadway—or maybe spun them around a couple of times—was Billie Joe Armstrong’s in American Idiot. Playing the role of the lead character’s drug-pushing alter ego, St. Jimmy, this was so much more than textbook stunt casting. It was an actual performance, not just an extended rockstar flail or a Green Day concert transposed onto a Broadway stage.

Approaching St. Jimmy as a figment of Johnny’s imagination—as his sleazily overblown alter ego—Armstrong played St. Jimmy as a foil to Rebecca Naomi Jones’s Whatshername, as though the two were locked in a battle for Johnny’s soul. It was an enormous performance—bug-eyed and frenetic and loud enough to match the thunderous audience response, and utterly appropriate.

Armstrong’s run is done and Peters’s is ending. But for last season, they helped to complete some unfinished business—and add a couple of truly inspiring performances to its otherwise spotty legacy.

Photo: The Craptacular

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Brief Entertainment

Hannah Yelland & Tristan Sturrock are pining.

Sitting up in the eaves of Studio 54 for a matinee performance of Noel Coward’s Brief Encounter, one word kept bubbling up inside my mind: charming.  It just kept coming back to the surface.  Everything was charming.

Brief Encounter isn’t the smartest thing I’ve ever seen.  Or the sharpest.  It’s not the most thought provoking.  Every once in a while things happen that are a bit confusing (wait…why are we all pretending we’re being blown away by another gust of wind right now?).  But it’s beautiful, witty and fun.  It is charming.

In this tale of two people—both already married—who fall in love over a series of (wait for it…) brief encounters, there are very few questions at all.  In fact, the audience knows how things will end before they even begin.  The real joy of this show is in how the story is told.

Emma Rice’s production makes wonderful use of the expansive Studio 54 stage by turning the whole thing into a dynamic canvas of sorts.  And unlike other recent shows where multi-media screens seemed to interrupt the experience of live theater—at Sondheim on Sondheim it felt as if we were watching a PBS special broadcast telethon—here their play within a play quality only enhances the dreamy nature of the show.  The addition of Mr. Coward’s songs is also a real treat, and Damon Daunno’s plaintive “Go Slowly Johnny” is a particular highlight.

If you’re looking for a challenge, for something that will make you think and feel and ask questions, Brief Encounter isn’t the show for you.  But it is a beautiful, charming jewel box of a tale, and you could do much worse for entertainment on your Saturday afternoon (or any afternoon or evening, at that).

Photo: Joan Marcus

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As Billie Joe Armstrong assumes the role of St. Jimmy in American Idiot tonight, we pause to remember a few other moments when rockstars graced Broadway stages.

Reba McIntyre: She decided to do a Broadway musical and half an instant later, she owned this town. A decade out, Reba’s turn as Annie Oakley in Annie Get Your Gun is still talked about as one of the great performances in recent memory. And one of the only things that could overshadow a towering, Tony-winning Bernadette Peters.

Pete Townshend: He didn’t just write Tommy. He won a Tony Award for it, too, setting a precedent for rock on Broadway, and for American Idiot specifically. Townshend also made one of our favorite Tony-speech quips of all time. Of the musical Kiss of the Spider Woman—Tommy’s main awards season competition that year—he said, “I’ve seen your show once and I love it. I’ve seen our show a thousand times, and I hate it.”

The Underestimated Joeys: Boybands have always been a fertile breeding ground for Broadway performers, and for logical reasons. They dance! They come cheap! They have ready-made fanbases! But every once in a while, one or two distinguish themselves with a decent performance. No one really expected the Joeys—McIntyre and Fatone, both late of blockbuster boybands—to do anything of note on Broadway, but both did. As Norbert Leo Butz’s replacement in Wicked, McIntyre has somehow become an iconic Fiyero, forever shifting the casting of the role toward its current hunky/pretty direction. And as the first major casting stunt over at the Nederlander, Joey Fatone pissed off basically every fangirl who thought she had some cred when he joined the cast of Rent in 2002.

Sebastian Bach: Yeah, the Skid Row frontman made his debut in Jekyll & Hyde in 2000, but we’re more interested in his second Broadway stint, when he joined the ranks of Semi-Famous People Who Eventually Replaced Raul Esparza. As Riffraff in the 2001 revival of The Rocky Horror Show, Sebastian Bach got ok notices from fans, but raised eyebrows when he allegedly asked the creative team expand the role for him.

Bret Michaels: So, he wasn’t on Broadway. Except, you know, for that half an instant when he got bonked in the head by the Tony Awards set. One thing we’ll say about this micro-stunt-non-casting: It was more interesting than say, Aaron Carter in Seussical.

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What’s the opposite of buyer’s remorse? The regretful feeling you get when you don’t buy something that seemed really cool?

I felt a lot of it yesterday at the Broadway Flea Market, the annual event where New York’s theater community cleans its collective closet and sells the contents—heaps of autographed Playbills, window cards, original cast recordings—in Schubert Alley to benefit Broadway Cares/Equity Fights AIDS.

Goodness knows, I have plenty of Playbills. There are enough in my apartment to set up my own table at the Flea Market. It was a different kind of item entirely that caught my eye, stole my heart, and threw me into the throes of depression after I left it behind.

It was a painting. Unidentifiable at first because of its somewhat obtuse subject matter—it looked like a bunch of tiny people standing behind a fence—the painting’s true genius emerged only when you started at it for a few minutes. And realized that it was a full-blown artistic rendering—seriously, it was enormous—of the helicopter scene from Miss Saigon. Done in moody monocrhome, the helicoptor emerged from the sky at the top in a swath of foggy light, a vaguely religious implication in the descent. The figures at the bottom scrambled like gnats in the dark. Even the oil-rig-like pylon things looked right.

It was hideous. It was brilliant. It was badass—the kind of thing that I could never imagine owning and the kind of thing I instantly wanted to own.

“Someday when you’re filthy rich and you have a house in Westchester, you can hang that in your theater room,” said The Mick.

You know, my theater room. The place where I will display all the Playbills that are currently in boxes in my closet. Where I will hang my Miss Saigon towel (It exists. I took to Long Beach this summer.) and gaze lovingly at my Franklin Mint Christine Daae doll. Ok, the latter doesn’t actually exist, but if it did, it would go in my theater room. Along with my Fall-of-Saigon oil, clearly.

To whoever owns my painting—someone definitely bought it; I went back after the first pang—bless you. Care for it well. May it help you recall your First Chris. (Mine: Jarrod Emick, age 12. Me, not him.) For you, it’s a reality and it’s hanging on your wall. For me, it’s like theater—fleeting and lovely. And nicer looking in my memory than above my bed.

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In a case of art imitating life imitating art imitating life, or something, rock’s ultimate prettyboy frontman Billie Joe Armstrong will step into the role of St. Jimmy in American Idiot this week. We’re jazzed and think this is going to be pretty much unforgettable, but still…

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Weekend Agenda: Quickie Edition

We’ve had a long week here at The Craptacular.  We bet you have too.  Just a few short things mull over as your workday draws to a close.

  • Gavin Creel is taking up residency at Birdland in November.  That gives us a little more than a month to stock up on those miniature packets of tissues to take along to the shows for use in soaking up the inevitable tears.
  • The cast of American Idiot played Rock Band at The Village Pourhouse. Things that would have made this better: John Gallagher Jr., free booze, the real live Billie Joe Armstrong.
  • BCEFA Flea Market is this weekend.  Here’s to hoping the rain does not fall.  The 2009 indoor version of the event was so claustrophobia-inducing we couldn’t handle more than 20 minutes. No good.
  • Catch Me If You Can sets a date and a theater. March 7th 2011 at the Neil Simon.  This will make for a way better March 7th than we had in 2010, which involved saying goodbye to talented stage people instead of hellllO.
  • Speaking of Catch Me… Aaron Tveit told the world he’s glad James Franco was the first dude he ever kissed.  Which brings us to our next question: Who was the second? Third?
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Top 5 Reasons We Totally Forgot About Tonight’s Glee Premiere

  1. Glee cares much more about its fabulous guest stars now than it does about like… having a cohesive story and believable characters.
  2. Spin-off clothing lines! Solo albums! T-shirts! Concert tours! A Broadway show! Spare us!
  3. We get the vague sense that Matt Morrison is, in real life, kind of a player and a jerkface. We frown on both. (And don’t even get us started on Ms. Michele…)
  4. Let’s be real. The end of the season sucked.  Even Jonathan Groff couldn’t save it, and that’s saying something.
  5. Speaking of The Groff…  No Jonathan Groff. Enough said.
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Electoral College: Get Schooled in Andrew Jackson

Andrew Jackson's Sexy Ass

Bloody, Bloody Andrew Jackson.  We’ll admit it, we were skeptical—Benjamin Walker? The Seventh President as an emo-punk teenager? What?—but we left the theater breathless from laughter, and totally turned on.  Then, we went back for more.  Several times over.  It’s a miracle, really, that we managed to keep from throwing our bras at the stage or inappropriately grabbing Mr. Walker when he straddled our laps.  (How many musicals can inspire that kind of panty-dropping response?)  As Bloody Bloody makes the Broadway leap, beginning previews tonight, here’s a look back at our coverage over the last six months:

Image: Bloody Bloody Andrew Jackson / Photo: Johnny Miller

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OMG Heathers: The Musical is Real Life

Heathers the musical? Yeah, that happened. Making its New York City debut at a Joe’s Pub concert reading this week and starring Hair‘s Annaleigh Ashford and West Side Story‘s Jeremy Jordan, this new-show-based-on-an-old-film (heard that one before?) is worth knowing about for one reason: It’s going to be your next favorite musical. This dark fable of a murderously mean high school clique doesn’t seem like automatic musical material… except that totally does. Here’s the breakdown.

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It’s not like the movie. In a good way.

The whole thing about Heathers is its tone. The film has a deadpan seriousness that might not have translated to the stage, so the musical is more of a spoof. This works because so much of eighties culture is a ready-made punchline to begin with. The actors don’t need to sing a note; the shoulder-padded, ruffled, high-ponytailed costumes are hilarious all by themselves. And the show’s creators recognized that the most important thing here, beyond the original film’s dark intentions, was to laugh. Plus, it keeps to the film’s themes in other ways: This is a spoof not just the over-the-top characters and the insane things they do, but of the entire teen genre, the profundity with which 17-year-olds view their lives, and the entire decade.

Even as a fetus, it looks pretty good.

Musicals in their latent form can be scary—full of wonky extra songs and characters that need to be cut and uneven, not-sure-how-we’re-casting-this-yet performances. That’s really not the case with Heathers. This presentation was a bare-bones concert reading, and everything is in place. Its hitting all the right emotional notes in occasionally epic fashion. (The unpopular girl’s late-in-the-evening ballad as she contemplates suicide is a complete win—and a perfectly-timed break from all the snarking.) And even without a set or a fully-formed book, it’s a totally enjoyable evening of theater whose good qualities far out number the things that need tinkering.

The songs don’t stink.

A dad singing an homage to his dead gay son. (Who wasn’t gay. But whatever.) A pep rally cheer about annihilating a rival high school when students are actually dying left and right. An ode to to the Slurpee. The songs, composed by Laurence O’Keefe and Kevin Murphy, are this show’s real asset. They’re tuneful without being saccharine, and appropriately referential to contemporary music without falling off the dreaded Cliff of Faceless Pastiche. In short, you might not just want to watch this musical. You might want to listen to it on your iPod, too.

Even the stage directions are funny.

We know, we know.  We’re talking about things that sort of fade into the background once a show is staged. (Or are we? Could we be so lucky as to hear these things on the stage?)  But hear us out.  At a concert reading, you’re being asked to judge a show on its most basic elements, and Monday night, someone was actually reading the stage directions aloud.  So they were pretty important to the whole experience.  Not-in-the-least because they’re about as good an indicator of overall book quality as anything we got that night.  Not only were they awesome and well-written, but they had the room in stitches.  So.  If the rest of the book is anything like the stage directions, well, things are looking pretty bad-ass.

And oh, by the way, the boy is cute as fuck.

Actually, all the boys we saw Monday night were cute.  But—sorry, boys—none of them were cuter than Jeremy Jordan, playing the loveable completely unhinged rebel JD.  God only knows if he’ll be around for future productions of Heathers, but just the fact that Jordan was cast in the first place says the producers know what they’re doing.  I like where their heads are at.

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