Tom, Greg and Mary
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---- 2025 Broadway: Tom, Greg and Mary |
Hello Friends and Family, It's time for our annual adventure on Broadway, New York City. This time Tom Daniels (Oakland) and, Greg Gilman (Palm Springs) are joined by long time friend Mary Franklin (Walnut Creek). This is Tom’s 13th year and Greg’s 11th year. The shows are reviewed by Greg. The photos are compiled by Tom who also sends out the e-mailings. If you’d like to be removed from the list, no worries. Please let Tom know so he can remove your e-mail address! Introductory note from Greg: Greetings, faithful (and unfaithful) readers. This is quite a year for Broadway. There are no fewer than 25 shows opening up and vying for the attention of an audience desperately in need of ENTERTAINMENT and ESCAPE. Making the choice of what to show has become a research project. The criteria were fairly straight forward for what I would want to see: important revivals, new and original productions, what might end up taking the best of prizes, and what famous stars I would like to see. That latter choice dictated the price of the ticket. George Clooney was out of the question. His tickets were up to $1000.00 ! and those of Denzel Washington and Jake Gyllenhaal close behind. So, the big named stars will have to be seen on the silver screen. All in all, we were able to find 8 shows that really represent the amazing variety and diversity of what Broadway has to offer. I hope that you find them as interesting (or not) as we will. As usual, our first full day in New York was a busy one. At 10:00 AM we started the rounds of the box offices to find the best seats. One of us is unnatually tall and requests an aisle seat. We didn't buy any tickets beforehand. And we were surprised that with 2 exceptions, the price of the tickets were similar to what we paid in recent years. With tickets in hand, we saw two shows on this same day! |
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Today’s matinée has been getting, at first, some quiet attention. More and more the public has made it a show to be seen. Wed Apr 23- Maybe Happy Ending 가장 아름다운 Friends Will Aronson (Connecticut) and Hue Park (Seoul, South Korea) met through a mutual friend while students at NYU and have been working together for over a decade. It is hard enough to come up with an original musical not based on existing material, but also in two separate languages! Their hard work has definitely paid off with “Maybe Happy Ending,” now playing at the Belasco Theater. This romantic musical comedy had its world premier in South Korea in 2016 and was a hit which sparked multiple productions across Asia. Its English-language version has finally hit Broadway starring DARREN CRISS and HELEN J SHEN.
The story begins in a “home” for retired android Helperbots who live in their individual small rooms while years pass by in isolation. They are left with memories of their former owners, for better or worse. We hear Oliver (Criss) sing of his day of repeated activities based on his memories of his owner who was an American Jazz fan.
Oliver is happy and hyper organized in his routine, while listening to (in the jazz style of Duke Ellington) his owner’s favorite LP’s by Gil Brently, who appears at various places on the stage.
After 12 years, he is interrupted by Claire (Shen) who has a problem with her “charger.” She has been living across the hall for the last 11 years. She is not met with much sympathy as Oliver is very set in his ways. But, he is kind, and shares his charger with her. This is an unlikely pairing as they are totally different in their routines and helperbot model numbers.
Oliver has been waiting for his owner to come back and pick him up; not accepting that he has been traded in. Claire is full of possibilities and because she is a slightly newer model of robot, she can drive. They embark on a road trip to go back to Oliver’s home and owner which leads us to a surprising adventure and a romantic connection. This story sounds simple enough, but what we are presented with is a unique blend of romance, science fiction and a very moving story. It is very rare indeed where we have seen such creativity in visual design which goes from small images to an entire expanse with stage magic enveloped by music. One is captivated by the charm but overwhelmed by the images and our emotions can’t help but be in their control. Yes. Even the most jaded will not resist.
The acting is superb as we watch the robots become more and more human, but never lose their character. The words and music are beautifully written with the simplicity of melody and the depth of feeling. There was a genuine positive atmosphere as we made out way out of the theater. This show is powerful in the simplest way as it makes us all feel there is Maybe a Happy Ending.
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Wed Apr 23- Smash The “True Broadway Aficionados” and those who like TV Series will remember that in 2012 there was a “soap opera” (called Smash) which ran for 2 seasons about a play being produced on Broadway called “Bombshell” about Marilyn Monroe. The plot for the first season was whom to choose to play the role of Marilyn—either Megan Hilty or Katharine McPhee. After that the show just got dramatic and lost its way. However, there were true fans who insisted that it become a Broadway show after all. The music was good—written by Scott Wittman and Marc Shaiman so it would be a matter of trimming the show down to a musical comedy. Therein lies the problem. 13 years later we find that the show has not only been whittled down but also changed entirely.
Now we have a cast of singers and dancers who are rehearsing for “Bombshell” starring Ivy Lynn. Ivy is a well-known Broadway star, and this is another chance for her to reign. There is no choice about who is going to be Marilyn. Ivy has an understudy of long note who is also eager to star in something someday.
There is a director who is a stereotypical gay drama queen with a need to act everything out. We have a chorus of boys and girls who can dance and sing at full throttle. We have music writers who are at each other’s throats as they write songs behind each other’s back. And the usual intrigue behind the scenes.
The real storyline comes when Ivy Lynn decides to follow the “Method Acting” way of taking on Marilyn’s character. She insists on being called only Marilyn and addressed only when necessary. As you can see this will lead to chaos as she only wants to rehearse when she wants to and the show is soon to open. Her method acting teacher is dressed as an old Italian woman in mourning (?) and becomes hated by all. It’s the final dress rehearsal and the show must go on, but there is no Ivy Lynn or Marilyn. You get the picture. About the show: They have maintained the music, and it seems that they invented the story around the existing music. This was a good idea, as the music and the dance numbers are quite good. The voices on everyone down to the stage manager are terrific full on Broadway singers. For those who enjoy tap and dance numbers this show is your thing. For those who enjoy broad comedy that is easy to understand, this show is for you. For those of you who want to see the old SMASH: “Bombshell” this is not that. That’s Broadway!
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Hello Tom, I was wondering if it was about time for you to go to New York. What fun! I was reading the reviews of the first plays. Brooks A. Was a student at Beaverton High School and recognized even then for his talent. I believe his father was a Washington County judge. He was a friend of a gal I taught with in the early 1980’s. I hope you have a wonderful trip. Enjoy. Cousin Nancy A. Wow, we would love to see that show. What a terrific concept in this day and age of bots and bolts and technology going boink in the night when you can least afford it going off the rails. Great review! Keep em coming. Wish I were with you! Norma (Sister Noreen M.) Thanks guys! Sounds like a delightful day! Dennis C. |
Sounds like you are having a super time. I don’t keep up with Broadway shows so it’s fun for me to see these. Eric S. Hi Tom, I always look forward to the vicarious Broadway experience with Greg’s and your delightful pictures and narratives. Keep ‘em coming and have a great time in New York! Best, Sylvia S (Fromm) I love these reviews! Barbara F.
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We had a quick supper at a Chinese restaurant called "China River" right across from Gypsy at the Majestic Theatre. Greg and Tom saw Gypsy and Mary saw the Stephen Sondheim show featuring Bernadette Peters and Lea Salonga. Thu Apr 24- Audra McDonald Gypsy (Greg and Tom) Very few people, of a certain age (I’m guessing), aren’t aware of the musical GYPSY. The original Broadway production opened in 1959, produced by David Merrick, directed by Jerome Robbins, music by Jule Styne, lyrics by Stephen Sondheim and starring Ethel Merman. Production of such pedigrees is a rare find. It received eight Tony Award nominations and ironically failed to win any. And today is considered by many to be the “Crowning achievement of the mid-twentieth century’s musical theatre art form.” Enough time has passed where all of the critics, archivists and musical theater enthusiasts have given their “two bit” opinions about the show. On Broadway it stars: Ethel Merman, Angela Lansbury, Tyne Daly, Bernadette Peters and Patti LuPone. In the movie Rosalind Russell starred, followed by the television version with Bette Midler. The role is now considered to be the ”King Lear” of Broadway roles for women! With all of that baggage it has become a challenge for the greatest musical actresses of the time. Each of those strong women have put her mark on the role. So, it stands to reason that Audra McDonald, six time Tony Award winner, should pick up the torch.
The story is very loosely based on the memoirs of striptease artist Gypsy Rose Lee, however she is not the main character. It seems that Gypsy’s mother, ROSE was the “mother of all stage-mothers” so she has become a mythic character. She is often described as a “monster”, bossy, demanding, horrific, misunderstood but nevertheless a mother who is desperate to give her children a better life than hers.
With Audra McDonald taking the role there is a new interpretation of Rose. Without changing much of the dialogue we have Rose, a black woman raising her children in show business during the depression. Not only do we have to deal with frankly a bad Vaudeville act with squeaky children, extreme poverty but also the general feeling about the racial tension of the time. Rose tries to feature Baby June, who is possibly passing as white, rather than Baby Louise who doesn’t quite have the talent and is pushed to the background. Throughout the show, without changing the original, we have Rose trying to subtly fit into the white society of the time because she realizes that it’s the only way they will succeed. This additional psychological issue is another driving force which makes Rose more understandable in her demanding behavior. With Audra’s performance we subtly see this extra burden, but also the rage of not wanting to fail. With little changes in the routines it becomes apparent, like substituting the young black chorus boy dancers with white boy backup dancers and hiding Louise under the dancing cow costume.
The entire production is a true “Revival.” It doesn’t really take on anything new. We have the 5 minute original overture with a full orchestra, which some consider to be the finest written. We have traditional scenes with sets from the period. The dialogue is unchanged. The cast is well represented. The big difference is Audra’s Rose.
Audra McDonald has shown that she can attack a character by embodying the entire person. Not only does she have a trained operatic voice but happens to be an actress of the highest category. She is able to emote from every fiber of her being. Rose has to always maintain power and control of everything and everyone around her. She never expresses her deep feelings, but only what needs to be said at the time to get what she wants. All of this is leading up the final moment when she realizes that she has failed, and she questions why she has done it. What she did was really for herself, not for her children. She displays talent which under different circumstances would have been her success. The song “Rose’s Turn” is where it all comes together…. or should I say “falls apart.” With Audra’s ability to summon a strength from deep within we see a full breakdown to music. Her pain is so visual that you almost want to look away, but you don’t. All I can say is that I am amazed that she can do that every performance. It is a tour de force.
With all of the Rose’s we have seen in the past one would be hard pressed to choose a favorite. Each of these powerful actresses were interpreting a “mythical character” in the society of their time. The love of a mother for her children is perhaps the ultimate challenge!
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Thu Apr 24- Stephen Sondheim Old Friends (Mary)
Mary wrote: Where do I begin? It was a dazzling 2-1/2 hours of wonderful memories of familiar and some obscure songs (a few I had never heard before).
Bernadette was only on stage maybe a quarter of the time but she and Lea brought down the house. Definitely more of a concert but many numbers were combined (Sweeney Todd and West Side Story as more of a snippet of the original production).
Sunday in the Park was performed with a projection of the painting which was beautiful. The entire cast (17 I believe) was so talented. It ended with a collage of Steven from infancy through his life (Kennedy Center Award).
The orchestra was on stage and was wonderful. Bernadette hasn’t changed much over the decades although her voice isn’t as strong (nit picking here). Beautiful gowns. It was a lovely evening of warm memories. |
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Fri Apr 25- Death Becomes Her Now this was fun! Sure, there were several attempts at murder in ways most painful and foul, but this time it was funny. Let me explain. In 1992, Universal Pictures produced a Robert Zameckis film which is the inspiration for this show. The film starred Meryl Streep, Goldie Hawn, Bruce Willis and Isabella Rossellini. It was funny, but there was an ICK factor that was stomach turning. Those attempts at murder were too realistic, thanks to cinema’s special effects. The original film became a macabre high-camp cult classic, particularly among the LGBT+ community. That means that for years drag queens carried out their twisted look repeatedly at Halloween. This movie was destined for Broadway.
This time they succeeded with the right amount of ICK, but broadly done for laughs. We still have the Meryl Streep character, Madeline Ashton played by Megan Hilty; Goldie’s character Helen Sharp, by Jennifer Simard; Willis’ Ernest Menville played by Christopher Sieber and Isabella Rossellini’s Viola Van Horn played by Michelle Williams (the one from Destiny’s Child). (Ironically, the voice reminding us to turn off our cel phones, was that of Isabella Rossellini)
Some people will go to any lengths to stay young forever. Madeline Ashton and Helen Sharp take that seriously. Madeline and Helen were frenemies from childhood. But Madeline became a big star (with 2 Oscar nominations.) Helen, on the other hand, took Madeline’s shady abuse all her life. Finally, Hellen shows up at a stage performance starring Madeline with her fiancé and this is unbearable to her. She is going to steal him. (One of the funny additions is that Madeline has just performed a big musical number “For the Gaze” which solidifies the intent of the show.) She succeeds in stealing and marrying Ernest which drives Helen into a mental institution determined to get back at Madeline.
They both ultimately find the famous elixir of life where Viola Van Horn promises that they will be beautiful forever and ever and ever, but they must take care of their bodies. So, there begins the female gladiator challenge to smash, cobble, shoot and chiropractic-ally re-adjust each other. This is where you can refer to the film to see the imaginative and brutal way that they carry that off. Unfortunately, their bodies do not always snap back into the same shape as before the battle, but they are still painlessly alive.
The show is hilarious! The acting is appropriately over the top. The music is also good for moving the story along. The costumes are eye popping, as are the perfect bodies of the dancers (who also took the elixir. )
As in the movie, the two women finally reconcile and continue to pick on each other, but they have no choice but to stay together, badly repaired forever and ever and ever.
Perhaps this show should be called “Maybe, Happy Never Ending.”
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Every year we choose to come to Broadway while the new shows are still in previews. That means that there are no reviews to help us decide. Sometimes we choose well, and sometimes not. Last year we chose NOT to see the OUTSIDERS, and it went on to win the Tony for best musical. So, this year we thought we would see why. Sat Apr 26 - The Outsiders The “Outsiders” film came out in 1983 directed by Francis Ford Coppola. It was an adaptation of the 1967 novel by S. E. Hinton. It was notable for its then up-and-coming cast members, including C. Thomas Howell, Rob Lowe, Emilio Estevez, Matt Dillon, Tom Cruise, Patrick Swayze, Ralph Macchio and Diane Lane. After a 1990 stage play adaptation, it was inevitable that there would be a musical, naturally. After a delay from the Covid epidemic the musical premiered at the La Jolla Playhouse in 2023 and then made it to Broadway in March of 2024. Most of the cast came along with the show to NYC, and some of them are still performing the same roles in 2025. (They still look like teenagers.) It was announced that the show will embark on a North American Tour beginning in FALL 2025 at the Tulsa, Oklahoma, Performing Arts Center where the original story was set.
Briefly, for those who might have missed the movie, the story takes place in Tulsa, OK, where we have the universal struggle between the “Haves” and the “Have Nots.” In this case the “Haves” are called the “Socs” (who live like “socialites”) and the “Greasers” who are the gritty, grounded and struggling underbelly of Tulsa. In this case the story is narrated by a Greaser by the name of “Ponyboy” who introduces us to his counterparts and his brothers.
One can imagine that there will not be good blood between the Socs and the Greasers, and sure enough there is immediately a confrontation between them. Things went from bad to worse with the brawling and it ended with a death. In this story, the Greasers were the ones who strived to better themselves, with a moral code. The Socs who initiated most of the antagonism were the ones to continue to bully for the sport.
We needn’t tell the whole story but should point out the things that made this production brilliant. First off, the story is told with the barest of scenery whereby simply using old tires, spare wood and the front of an old Chevy, they could create the appearance of their world. The voices were strong and well trained. But for me the standout impression was the acting by a group of young boys/men who were clearly poor and downtrodden. The rumble scenes had to come off as believable, so every move had to be choreographed with care. Not only that, but to carry that off, each of them had to be classically trained dancers to be able to perform the fights both in real speed and then in slow motion, with everyone in stop action timing (in a downpour of rain, no less.) Those scenes defy description, but convey the anger, danger and consequences of street fighting.
The overall impression of the show is that it was genius in its ability to convey all of the feelings of the original book in a visual way. The kudos must go to the director, Danya Taymor (sister of Julie Taymor of “Lion King”) and the choreography by brothers Rick and Jeff Kuperman.
Today we saw The Outsiders followed by Dead Outlaw. We ate an early supper at the Neapolitan pizza place (Don Antonio's) between these 2 shows. We had a little extra time so we sat in a plaza at 49th and 8th. Then this is what happened: |
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Sat Apr 26 - Dead Outlaw As was mentioned in the commentary about Outsiders, we like to see shows before the reviews come out. Sometimes it’s a “Crapshoot.” Sometimes we pick winners which go on to receive nominations, and sometimes real stinkers. Dead Outlaw was a real risk. I had been reading about it, and its success Off Broadway, and now it was going to open in the “big time. “ In fact the official opening was last night, Sunday April 27, and we saw it Saturday April 26.
On face value the story is about as appealing as the title of the show. But the story is true. Of course, while the character was living it, it was not a musical. It rarely is. Several years ago I saw a documentary about this very story, and it stuck with me. I always questioned how could this be true? Well this is what happened in a nutshell: Elmer McCurdy (born Jan. 1, 1880, died Oct. 7, 1911, and BURIED April 1977.) What? Well you see, in short, Elmer wanted to be an outlaw. He would play like Jesse James or any other famous outlaw when he was a young kid. He had no real home life and ran away, joined the army, discharged honorably and then to the Midwest where he was able to be just what he wanted—an Outlaw. Only problem was that he wasn’t a very good outlaw and got himself killed by the age of 30.
He was then sent to be embalmed and stayed in Johnson’s funeral home while waiting for the family to claim him. There he stayed unclaimed. Johnson refused to bury him until his service was paid for. So he embalmed him with an arsenic-based preservative used at the time for long term preservation. To reclaim some of his money he decided to exhibit McCurdy to make some money. He dressed him in street clothes, placed a rifle in his hands and stood him up in the corner of the funeral home. For a nickel Johnson allowed visitors to see “The Bandit Who Wouldn’t Give Up.”
Word got around and two men came in and pretended to be his brothers. They ran a traveling carnival and needed a corpse. Elmer then began his journey. He passed from carnival to circus to Hollywood, then the Wax Museum, etc. Ultimately, he ended up in Long Beach, California at the pier where he was shellacked with red dayglow paint, and was displayed in a horror house with a noose around his neck. One day, in 1976, a prop man, while filming “The Six Million Dollar Man”, tried to move him, his arm fell off, revealing a human bone. At this point the journalists and TV reporters tried to find out who he was. Little by little they narrowed down the search, with the coroner and finally with the help of Dr. Thomas Noguchi, then the Chief Medical Examiner-Coroner for the County of Los Angeles he was released to be buried at the “Boot Hill” section of the Summit View Cemetery in Guthrie, Oklahoma. (To ensure that McCurdy’s body would not be stolen, 2 feet (60 cm) of concrete was poured over the casket.)
So, where does the music fit in, you ask? Well in the middle of the stage is a wooden shed with a rockabilly band and a singer who actually tells us the story. Along the way Elmer gets to sing a few songs before he dies and appears standing in his coffin; the band sings; his girlfriend sings; his fellow bandit sings, and even the Coroner sings about the fate of Elmer.
Perhaps about one half of the show Andrew Durand, the man playing Elmer, stands motionless facing the audience. This is an acting tour-de-force. The music and lyrics are by David Yazbek and Erik Della Penna. Yazbek has written: The Full Monty, Dirty Rotten Scoundrels, Women on the Verge of a Nervous Breakdown, The Band’s Visit, and Tootsie. So you see that this show was no accident. He has never done anything twice. This was pure Americana. A side note is that all of the reviews came out late last night, and I was amazed to see the interpretations of all of the reviewers. Through them, I am trying to understand whether I liked the show or not. Perhaps time will tell. Once again, the theme of the trip: Maybe Happy Ending.
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Sun Apr 27 - Cole Escola's Oh Mary! From time to time an exceptional mind comes along. I believe that we all have one, but sometimes an even more exceptional one escapes the norm, and is catapulted into the ether. I am thinking about Robin Williams, for example. He was never easy to categorize, but fortunately there was a place for him in popular culture. Well, another one has come flying into the comedy world. Cole Escola, (they, them, their) now 38, has shaken the prim and proper doyenne of New York and stunned and amused Broadway. They have been performing in cabaret theaters, YouTube videos, Hulu series, etc. They have made their way into the TIME 100 Next list of the world’s most influential rising leaders.
Well, what have they done now? Cole has written a one act play which has made its way to the Big White Way on Broadway! For much of history Mary Todd Lincoln has received bad press. Poor thing was emotional and outspoken and spent lavishly during a time when budgets were tight to fight the Civil War. This entered Cole Escola’s mind and came out as a great idea for a story. Cole’s Mary becomes a personality not unlike Cole, and is played by Cole, themself. All the characters are named by their relationship with Mary. When the show opens we see “Mary’s Husband” (Abraham Lincoln) in deep distress and pleading with God for help. When comforted by “Mary’s Husband’s” assistant that the stress of the Civil War is taking its toll on President Lincoln, Abraham replies that it is not the war, but his wife Mary that is making him insane. She is portrayed as a manic-depressive alcoholic, who feels ignored and frankly unaware that the Civil War is happening in the South. Mary’s response is: “South of where?” She wants to return to the stage where she was a cabaret star (for 5 days) where she could get all the attention that she wants and behave like the Diva, that she thinks she is. Abe is doing all he can to provide her with distractions and keep her away from the bottle.
Abe has his own problems. Not only is he fighting the war, but he is also fighting his homosexual tendencies which are manifested through his assistant. He is deeply remorseful and promises that if God lets him win the war, he will give up his homosexuality. He hires a conservative woman to be Mary’s assistant, but she has a rough time dealing with Mary, as she is pushed down a flight of stairs for laughs. He hires a (hunky) man to be Mary’s drama teacher who stages a fake audition for her. But that backfires.
A history lesson this is NOT. Cole Escola will say “Oh, Mary!” is “the stupidest play”, but stupid it is not. It is well paced and planned to perfection. The puns, bits, and gags zip by in quick succession, and the audience laughs nearly the entire 80 minutes. It is unquestionably the funniest, gayest, campiest play Broadway has seen in years. Cole is also folding gender commentary and the non-binary experience under the surface of this outrageous comedy. In a moment where a drag queen will be kicked out of the library for helping children learn, this play is making a huge statement.
It was a treat to see this production. I am not easily shocked. However, there might be a few people out there who will recoil at hearing Mary Todd Lincoln unable to complete a sentence without colorful 4 letter words. But, nevertheless, this was another example of the diversity of this Broadway season.
This Cole will never be confused with Cole Porter. But I can guarantee that Mr. Porter would get a gay old “Kick out of ….” It. |
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Tue Apr 29 - Just in Time As we all know by now, New York City is filled with talented people. For decades young people have been coming in search of Broadway stardom. Most of them are not really aware of what is involved, and how dedicated one must be. You can attend any show and be overwhelmed by the talent. However, from time to time a talent rises above the rest and makes him or herself known and breaks through to the stratosphere. What does that take? No one really knows. But when you see it, you know. I think that the secret is that the person finally finds what he/she was meant to do, creates the vehicle to show off all his/her strengths and sincerely loves doing it.
Jonathan Groff is one of those people. And this show allows him to shine. And he radiates joy. Jonathan grew up in Lancaster, Pennsylvania (he’s now 40) and in his youth would spend his time in his mother’s pumps singing loud to all of the great vocalists. In brief, he hit Broadway at the age of 21, and has been working quite steadily ever since: Spring Awakening, Hamilton as King George, Little Shop of Horrors, and last year received a Tony award for best actor in Sondheim’s revival of Merrily We Roll Along. He has worked in TV, and on the big screen. One of those greats that he used to sing along with was Bobby Darin and his music has stuck in his brain for most of his life.
This production began as “The Bobby Darin Story” at the 92nd St. Y, in 2018. Johathan has been involved with its development ever since. What sets this “Juke Box Musical” apart from the others is that Groff is introduced at the beginning, as himself, Jonathan Groff. He doesn’t want to do an impression of Bobby Darin but wants to tell the story of his life and sing some of his music.
The setting in the theater has been redone to resemble a beautiful nightclub. On the floor in front of the band stand (terrific, by the way) are a few tables. The people at these tables are part of the scene. Tom and I are at table #4. These were the last remaining tickets. The actors move around the tables sometimes singing to us and even jumping up on one of the tables. Rather bold eye contact is always happening. We must smile and pay attention. Groff runs through some of the songs that made Bobby Darin famous, and then slips into the character, with his first big success, “Splish-splash.”
From this point on in the show we discover the life of Darin with an emphasis on his sickly childhood, his mother, sister and brother-in-law. Darin is not expected to live past the age of 16. This doesn’t depress him but rather puts him in high gear to get out and do what he needs to do to make himself successful.
We see his relationship with Connie Francis, whom he really loves, but cannot marry because her father will (quite literally) kill him! Down the line after much success, we see him on the movie set where he meets Sandra Dee. He makes a play for Sandra Dee, and ultimately they marry. It is not going to be a good marriage and ends with an ugly break. Throughout, Bobby is trying to find his style, and since the Beetles and Folk Songs seem to be more popular than he is he runs away to live in a trailer at Big Sur.
Bobby Darin’s real strength is singing live to people in a big band setting, and Jonathan Groff is really up to the task. Darin goes back to the Copacabana at the end where his body gives up on him, and he dies at the young age of 37, in 1973. Although the story has taken on a sad ending, the recap of all of his tunes, Jonathan Groff’s ability and his powerful stage presence lifts the audience to a star studded finish.
As the New York Times said of Groff: “A rarity among male musical theater stars, he is thrilling not just sonically but also emotionally, all in one breath.”
No. 1 and No. 2 are the stages (including the area in between [No. 3])
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Wed Apr 30 - Epilogue Tom and Mary returned home to the Bay Area uneventfully and early. Unfortunately, Greg's flights and alternate flights were cancelled due to bad weather in the mid-west. He is holed up in a hotel hoping to fly home tomorrow (Thursday). We'll see. |
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