Cat Clips -- Stage Struck

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In this episode: While Tipi investigates a miniature mechanical stage, Boots and Tuck decide to make a pact for the New Year. To watch the video, please click on the photo above.

Cat Clips -- Ghostly Encounter

Please click on the photo above to watch the next episode in the "Cat Clips" series. While Honey discusses the weird feelings she's been having, Tuck sees something strange in the bathroom.

Cat Clips--Infinity Fitness

Please click on the photo above to watch the next episode in the "Cat Clips" series. In this episode, Tipi doesn't understand the point of a new toy she and Tuck were given for Christmas.

Cat Clips - Christmas Pageant

Please click on the photo above to watch the next episode in the "Cat Clips" series. In this episode, Tipi and Tuck try to get Trey involved in a recreation of Honey's childhood Christmas pageant.

Cat Clips--Christmas Tinselitus

Please click on the photo above to watch the next episode in the "Cat Clips" series. While Trey and Tuck discuss the merits/hazards of Tinsel, Honey campaigns for a very specific Christmas gift.

Cat Clips--Great Christmas Egg

Please click on the photo above to watch the next episode in the "Cat Clips" series. In this episode, Trey tries to trick Tipi and Tuck into believing the big bag that holds the fake Christmas tree is actually "The Great Christmas Egg."

Cat Clips #100--THE MUSICAL

Yes, it's finally here. The 100th Episode of "Cat Clips." Can't believe it. And because every show seems to celebrate an important anniversary like this with a big musical number, I decided to create an original musical for the cats to star in. SYNOPSIS: Trey feels trapped, and Tipi wants to move to Hollywood to become an actress. Will Honey and Tuck be able to convince them to stay before it's too late? (Please click on the photo above to watch the video.)

Angela’s Back and Better Than Ever!

Over the July 4th holiday weekend, I had the extreme pleasure of watching Angela Lansbury perform on Broadway in the Noel Coward classic “Blithe Spirit.” And even better, I had tickets in front row center. How I was lucky enough to get these prime seats, I don’t know, as I only called up the night before to make reservations. But it was well worth the trip into the city, as the play itself is a classic bit of comic genius, and the rest of the cast (including Rupert Everett, Christine Ebersole and Jayne Atkinson) were equally superb.

In the play, Ms. Lansbury plays a somewhat questionable medium, who somehow manages to conjure up the dead wife (Ms. Ebersole) of Mr. Everett, much to the chagrin of his current wife (Ms. Atkinson). I’m sure you can imagine what ensues from there, complete with clever, witty dialogue provided by Mr. Coward. All in all, it was a great day at the theater, and a nice reminder of what a great actress Ms. Lansbury still remains, even in her eighties. (I’d actually seen her a couple years ago on Broadway, when she was in the tennis comedy “Deuce”…but that was not a great play, and she seemed to struggle with her lines in that one.) But with Noel Coward’s hilarious storyline as a backdrop, Ms. Lansbury shined brighter than ever.

The only thing I found a little odd is that Ms. Lansbury appeared to be wearing the exact same wig she’d worn as Mrs. Lovett in the original Broadway production of “Sweeney Todd.” Even had the same accent. Not sure if there was an intentional reference or whether it was pure coincidence, but the similarities were rather obvious. Other than that, the entire show was “like butter.”

The play closes later this month, so if you’ve been thinking of going to see it, you’d better hurry. Ms. Lansbury waits for no one.

The Trouble with Tony

The minute the Tony Awards started on Sunday night, I knew we were in trouble. Elton John’s microphone wasn’t turned on, so the first few notes of his song were sung into a black hole. This was only the beginning of what I felt was a poorly executed television program, with so many sound issues throughout, you’d think you were watching Amateur Night at the local Rotary Club. Especially when you constantly heard people talking offstage, or into microphones that shouldn’t have been turned on yet. But the worst moment came during the “Guys and Dolls” number when you could hear a technician talking offstage louder than you could hear the singer onstage. That was quickly corrected, thankfully, when the aforementioned tech ran onto the stage with the live microphone he had just been speaking into. INEXCUSABLE.

And then there were the endless musical numbers from shows that are out on tour, that we’ve already seen a million times. I mean, did the “Dancing Queen” number inspire anyone to get up off their butts and boogie? No.

I thought Neil Patrick Harris did a great job of holding it all together. His personality is very likeable, although I’m sure there’s a lot of stuff going on under that perfectly honed façade that’s probably pretty scary. No one is THAT nice.

The most disappointing moment for me was the choice of number from the musical “Billy Elliot.” This number DOES NOT do the show justice. Not that it isn’t impressive to watch someone that young take such command of the stage. But out of context, I don’t think Middle America will really make much of that number. In fact, the people who were initially turned off by the idea of a musical about a boy who wants to dance will probably not be swayed by what they saw on Sunday night. It was so poorly edited and presented that it didn’t make me want to spend the money to go see it. And that’s from someone who has already seen the show three times. (And believe me, it is well worth the investment and it rightfully deserved the title of "Best Musical." So don’t let the Tony number influence you negatively against this show---if it did. It is possibly one of the most grounded and emotionally charged musicals I’ve ever seen.)

Which brings me to the musical number from “Next to Normal,” which actually made me want to go see the show. I’d already heard good things about the show from friends, but was never really motivated yet to plunk down the money to get a ticket. I mean, a show about an emotionally disturbed woman and the toll it takes on her family is not exactly fodder for a fun evening out. But then I heard their voices, and I saw the commitment coming from the actors, and all of a sudden I was excited see this show. Finally, something that doesn’t run around in a costume or come pre-packaged from a movie or TV show. And that’s what the Tonys are supposed to do. Get you excited about going to see a live show, an experience unlike anything else in the world.

So, before I close, let’s not forget Liza Minelli, whose overzealous and perpetually bubbly personality makes me nervous every time I see her. In her heydey, she was spunky and funny and had a quirky personality that made her the life of the party. But now the party has run its course, and the band has gone home, and she’s still out there plugging away. I say retire from singing, because the voice just ain’t what it used to be. As for acting, there will always be roles for over-the-top people with bizarre affectations, so her career prospects are good. But come on, there’s only so many songs I want to hear that are sung with that many strained and missed notes. Even Stockard Channing sounded more on point, and I heard she was horrible in “Pal Joey.”

So though I’m glad they put a lot of money and effort into the production, I think they maybe strived to do too much with what they had. And yet, the show pulled in it’s best ratings since 2006, so who am I to judge? I’m just glad the Tonys are televised at all.

But that’s just me. What did you think of the Tony Awards?

The Light and Fluffy “Cry Baby” Packs a Powerful Dancing Punch

"Cry Baby," based on the 1990 movie starring Johnny Depp, is the second John Waters movie to be turned into a Broadway musical. Though currently in previews, I decided to catch a recent performance of the musical to see how it compared with "Hairspray," Water’s first Broadway outing. And while it’s not really fair to assume these shows would be similar, it’s inevitable to compare them because the writing team is the same for both. The musical elements of the show, however, were written by somebody else. And while the music is fun and peppy, it's not as crisp and laser-perfect as the score for “Hairspray” was. The show also doesn’t include an underlining social commentary, except maybe Rich vs. Poor, a theme so uncomfortably prevalent in today’s society that it almost comes across as passé.

This is not to say that “Cry Baby” isn’t a lot of fun, because it is. Like Cotton Candy, it’s light, airy and full of fluff; a colorful calliope of sugary confection. But also like Cotton Candy, you know as soon as you take a bite of it, you’ll be left with nothing but air. In other words, there is nothing particularly original or ground-breaking about the story, the characters, or the so-called plot of the show. It’s the tried-and-true tale of the socially elite good girl who falls for the morally ambiguous bad boy from the wrong side of the tracks. Grease meets West Side Story meets Happy Days. But who cares? I doubt anyone is going to see this show for intellectual stimulation. And for those non-discriminatory people, “Cry Baby” delivers whole-heartedly. The stars of the show are pitch perfect in their campy characterizations, including “Frasier” alumni Harriet Harris as the prim and proper Aunt.

But the one element that sets “Cry Baby” apart from other musicals on Broadway is the amazing display of athletic and energetic dancing by the supporting cast. Rob Ashford’s choreography is truly incredible. His first-rate dancers appear to be made of rubber, as they bounce, jump and fly across the stage. It’s almost animalistic at times, even primeval. Or at least that’s what I assumed as I watched one particularly nimble male dancer shake and gyrate so aggressively, it appeared as if he was auditioning for gay porn. (Or maybe he already has.)

So if you’re looking for pure escapist fun, with a fun rock and roll sensibility, “Cry Baby” will knock your socks off.

A Surprising Sojourn in the “South Pacific”

“South Pacific” has never been one of my favorite Rodgers & Hammerstein musicals. I played the role of Luther Billis in my High School production, which was both a blessing and a curse. A blessing, because it was the only comedic role in the show. And a curse, because after the show was over I was forever after referred to as “Coconuts” by many of my friends’ parents. A nickname I earned solely because of the coconut bra I had to wear during the “Honey Bun” number in Act Two. A little humiliating to say the least, though it’s certainly not why the show has never held much interest for me.

As a teenager, I found the wafer thin plotlines and ballad-laden love story a bit boring. Except for “There is Nothing Like a Dame” and “Bloody Mary,” there weren’t a lot of rousing numbers in the show. Plus, the boy and girl who played the leads in our show took their roles a little too seriously, which caused much nausea and irritation among the rest of the cast members. (Particularly the female chorus members, who couldn’t wait for our Nellie Forbush to break her leg or lose her voice so one of them could go on in her place. Oh yes, they were ruthless in my High School.)

Anyway, I went to see the new Broadway production of “South Pacific” with little or no anticipation. The tickets had been given to me as a gift, so I was merely fulfilling my obligation to use them, rather than gearing myself up for an entertaining evening at the theater. But what I witnessed at the Vivian Beaumont Theater was a beautifully mounted and executed production, perfectly cast and thoroughly entertaining to watch. The production gives the show one of the best presentations I’ve ever seen, as dialogue and lyrics meld together to form a cohesive language. The actors don’t stop to sing a song; the song comes naturally out of what they’re saying. To me, that gives the musical so much life and reality, that you forget the transition from speaking to singing. One flows into the other like a natural extension of their vocal abilities.

Kelli O’Hara was a great choice for Nellie Forbush, as she brings an awkward geekiness to the role, which is thoroughly charming. Her songs are pitch perfect, and appear to flow out of her with little effort or strain. As Nellie’s love interest, Paulo Szot was a brilliant choice for Emile de Becque. Coming from an operatic background, Mr. Szot’s rich voice is a well-tuned instrument. His reprise of “Some Enchanted Evening” at the end of Act One is sure to send shivers up and down your spine. Danny Burstein was also good as Billis, though his voice and mannerisms began to remind me of a young Bert Lahr. At any moment, I half expected him to break out in “If I Was King of the Forest” from “The Wizard of Oz."

The rest of the cast were equally good in their roles, and the production values are top notch. And though the show’s intertwining stories might seem a little bland for today’s tastes, you are not likely to see a more beautifully staged and executed production on Broadway anytime soon. (Especially since this is only the second time the show has ever been mounted on the Great White Way.) So in conclusion, the trip to the construction-challenged Lincoln Center was well worth it, as it turned out to be One Enchanted Evening.

LuPone Triumphs as New Queen of the “Gypsy’s”

One of the most famous backstage musicals of all time, “Gypsy,” is back on Broadway again. After two relatively recent revivals starring Tyne Daly and Bernadette Peters (the latter only a few years ago), I wondered why anyone would want to bring it back so soon. Is there really anything about “Gypsy” we haven’t seen yet? What could possibly justify another “New” Broadway revival? Well, after seeing the show last night at the St. James Theater, I fully understand why.

Watching this production of “Gypsy” is like seeing the show with new glasses. Truth to tell, I’ve never actually seen a LIVE stage production of “Gypsy.” I’ve seen the movie many times, as well as the Bette Midler television adaptation in the 1990s, so I’m pretty familiar with the material. But this production seems infused with a new energy and life, particularly because of its two leading ladies, Patti LuPone and Laura Benanti.

The energetic powerhouse that is Patti LuPone is used to maximum effectiveness here. As the show’s central character, Mama Rose, she is loud, brassy, funny, playful, arrogant, desperate, pushy—yet always in control. Every time she is on stage, you can’t help but watch her. Even when she is only walking by in the background during a Baby June song, she nearly steals the scene. Miss LuPone inhabits this role like no one else before her. Not that other people haven’t played the part well, but there is something so natural and effortless in Miss LuPone’s performance, that you feel like you might be watching Mama Rose herself.

To me, the most incredible moment comes near the very end of the show. Gypsy has already established herself as the Queen of Burlesque, and Rose no longer feels wanted or needed. The result is one of the most brilliant swan songs ever written, “Rose’s Turn,” in which she basically laments her life. This song is a favorite among musical theater lovers and has been sung by nearly every female Diva in the world at some point in their careers. It is tour de force musical tirade, which Miss LuPone infuses with every fiber of her being. The song is electrifying to watch, as goosebumps trail up and down your arm. You know you are witnessing something very special—the perfect melding of star and song. Several audience members spontaneously stood up at the end and gave her an ovation, and I can see why. It was truly remarkable.

But that wasn’t even the “incredible moment” I was referring to. My favorite “moment” comes shortly after the aforementioned show-stopping "Rose's Turn" number. Gypsy finds her mother onstage, and asks her why she worked and pushed so hard for all those years---who was she really doing it for? Rose always claimed she was doing it for her kids, to give them a better life. But in one overwhelming and painfully raw moment of insight, she finally realizes her drive was motivated by her own desires rather than her children's welfare. Her realization and subsequent breakdown is a moment I will never forget. It was so human and real. Absolutely incredible!

The evening also had a feeling of heightened electricity because the audience was filled with other Broadway actors, who spent their Monday night off watching someone else’s show. David Hyde Pierce (of “Curtains”) and his partner were sitting right across the aisle from me, and the lobby was filled with many other famous faces from the New York theater scene. During the show, you could hear a pin drop; that’s how riveting it was. And though I’ve had the opportunity many times over the years to see “Gypsy” LIVE, I’m glad I waited until this production to actually take the plunge.

For anyone who loves theater, this “Gypsy” is definitely worth the trip!

Expect a Hot Fun Night When Visiting “In the Heights”

I am an avid theater-goer, and living less than forty-five minutes from Broadway, I tend to see a lot of the big musicals and Off-Broadway hits. I also see a lot of plays, but they aren’t necessarily on Broadway, as the “play” has become a rather rare commodity on the Great White Way. If a show doesn’t have something to make you tap your foot, or hum a tune, it doesn’t translate into big Box Office Bucks. And right now, shows like “Wicked” and “Hairspray” and “Spring Awakening” rule the boards.

So when tickets became available for a new musical called “In the Heights,” I naturally got mine in advance. The only thing I really knew about the show was that it had already achieved a very successful run Off-Broadway (like “Spring Awakening”), and was now making the big move to a much more spacious and profitable venue. With that kind of track record, it must be good, right? (Although I still have my issues about the overly-critiqued “Spring Awakening,” which I left feeling rather underwhelmed. Perhaps all the lofty praise had put a different expectation in my head, but I just didn’t get what all the fuss was about. My teenage niece, on the other hand, loves the show and has already seen it four times.)

Anyway, I had no expectations for “In the Heights,” and I must say I was happily surprised by the production. Not that the various plotlines are anything new or extraordinary: there’s the nice guy in love with the hot girl, the hot girl who wants to leave the old neighborhood for a more glamorous life “downtown,” the smart girl who already left the neighborhood and is coming back because she failed in the world outside the Barrio, the smart-talking hairdresser who has a witty comment for almost every occasion, the older woman with health issues that is everyone’s best friend, the hot limousine company employee in love with the boss's daughter, the list goes on and on.

So while the show is filled with stock characters and familiar plotlines, there is something so engaging about the cast and music that you simply follow along for the ride. From the hip-hop/rap inspired opening number that tells you everything you need to know in ten minutes, to the high flying vocals that pepper the show with excitement, this was a very fun evening in the theater. The cast is excellent and the music keeps your foot tapping through the entire evening. I thought there were maybe one too many ballads, and some story devices that were a little lame. But overall this show is a good time and I highly recommend it.

Next on my theater-going agenda: Revivals of “South Pacific” and “Gypsy” starring the Great Lupone.

The Brilliance of the Broadway Bound “Billy Elliot”

Just got back from London for a quick trip with my friend Celia. While we were there, I decided to take in the British smash hit musical, “Billy Elliot” which is based on the critically acclaimed movie of the same name. It was my second time seeing the Elton John/Lee Hall musical, and I was equally impressed upon a second viewing. The brilliance of the book and score, which intermingles the tragic plight of poor mineworkers in a Northern England town with the artistic awakening of a young boy, makes for a very exciting and moving theatrical experience.

But what makes the experience even more fascinating is the unique casting process for the main character. For there is not just one “Billy Elliot” playing the role at any given time, but rather five different boys. So depending on what night you see the show, you might be seeing a slightly different performance. Because while each “Billy” is equally talented, his choreography and individual dance numbers are catered to that particular boy’s strengths, giving the audience a rare glimpse into the life of that particular boy. It also makes each performance unique and exciting, as the rest of the ensemble always has a new interpretation of the character to play off.

On the night I saw it, a black actor was playing Billy. There have also been Asian “Billys” and perhaps even Hispanic, but it matters not. The essence of Billy is in everyone, and by casting talent over authenticity, the producers are wisely capitalizing on the mass appeal this character has.

I believe the training process for the character is pretty long and fairly extensive as well. Potential “Billys” must go through a year or more of dance, vocal and acting lessons before they can even attempt to do the role. (Or some such rigorous timeframe.) And once you see the show, you can understand why. The role is demanding, both physically and emotionally, and the show would not succeed if the performer did not have incredibly strong acting, singing and dancing chops. And for someone so young to be able to perform such a feat is truly amazing. By the end of the show, you have fallen in love with Billy, his family, his dancing coach, and indeed the town itself, and you also leave the theater feeling energized by hope. The juxtaposition of this long-suffering town of mineworkers with Billy’s emergence as a naturally-gifted talent is an incredible piece of theater to experience, and there are moments in the play that will simply take your breath away.

So with that being said, I am both anxious and nervous for “Billy Elliot” to make its debut on Broadway this Fall. I have heard they may change it to appease the American sensibility, perhaps even moving the local from a British town to one in Pennsylvania. To me, this would be a mistake. The charm of the show is that we are viewing a way of life that is foreign to many of us anyway, and by Americanizing it, I think they change the story. I would hope that American theatergoers are not so superficial as to require major rewrites or different accents to make the show more accessible. It is what it is, and I wouldn’t change a thing.

So here’s hoping the Broadway Bound “Billy Elliot” brings as much joy to American audiences as it has to the London theater crowd for over two years now. It is simply Brilliant!
But that’s just me. What did you think of London’s “Billy Elliot”?