Last night, I went to see the play Other Desert Cities by Jon Robin Baitz, which I'd wanted to see for a long time, at the Will Geer Theatricum Botanicum, which I'd wanted to get back to after a long time.  Both were well-worth the wait.

Robbie Baitz is a wonderful writer who I've never met but we exchanged a great many emails during the last Writers Guild Strike.  He created the TV series Brothers and Sisters, and wrote the play Vicuna which I saw in its world premiere production in Culver City last November, and wrote about here.  (It was probably the most bizarre experience I've ever had in the theater.  The play is a very funny, but dark, scathing and ultimately very-serious satire of an outlandish character who is clearly based on Donald Trump running for president.  What began its life no doubt as a comic, but bleak cautionary tale of such a ludicrous idea, its life took a complete turn when I saw it the day after Trump won the presidential election.  As I describe in the article, it was an utterly odd and otherworldly being in the theater that night.  I mentioned this to him, and he said pithily how odd it was all been, as you might imagine.  Profoundly difficult as it was to watch that night, I suspect the passage of time -- while still difficult to watch, but not as raw  -- has given the play an added richness.)

Other Desert Cities was written in 2011 and was nominated for a Tony Award as Best Play, and won one of its stars, Judith Light, the Tony as Best Featured Actress.  It's a terrific play with many of the same attributes of Vicuna -- thoughtful, crisp dialogue, very funny, and turning extremely serious.  It centers around a daughter returning to the family home for the holidays, as she's about to publish a book about a difficult time in the family's life.  It really is very funny, but deals with edgy family issues that break apart in the second act.  But it's handled with such craft that the whole thing is engrossing and a pleasure.

The whole cast of five actors were excellent, with an interesting bit of casting.  The matriarch is played by Ellen Geer, theater founder Will Geer's daughter, and the character of her daughter in the play is played by her own real-life daughter, Willow Geer.  Also standout was Mark Bramhall as the father.  And Rafael Goldstein as the brother and Melora Marshall, who plays the children's aunt -- and in real life is Willow Geer's aunt -- were excellent, as well.  (And lest anyone question my judgement here, this is the rave review from the Los Angeles Times.)

As much fun is the venue itself.  

The Theatricum Botanicum is a complex in the wooded area of Topanga Canyon started in 1951 by actor Will Geer, best known for his role as the grandfather on The Waltons, but who had a long career acting and as a political activist.  He was a member of the Group Theatre in New York, and traveled the country entertaining at government work camps with Woody Guthrie, Pete Seeger and Burl Ives.  He was blacklisted in the early 1950s for refusing to testify before the House Un-American Activities Committee.  Its worth noting that he began his early living studying to be a botanist, getting his Masters degree in the subject at the University of Chicago.  The Will Geer Theatricum Botanicum carries that sensibility of all its interests to its grounds.

A slight digression.  This was my first time back to the grounds in several decades.  It's a bit of a drive, around 40-45 minutes, and it also fell a bit off my radar, though I'd always intended to go back, liking the venue so much.  My last visit was memorable.  I'd had a first date with a very pretty girl I liked, but it almost didn't come off.  I'd been in great pain earlier in the day, and in fact one of my superiors at Universal Studios sent me home from work, in fact threatening to beat me up if i didn't leave.  I was still uncomfortable at home, but really wanted to go on this date, and I drove us out there.  I remember the night well -- it wasn't a play, but a concert -- Burl Ives, of all people, and discomfort aside, I loved it.  I suspect I wasn't at my best that evening, what with the agonizing pain earlier in the day, and alas we didn't have a second date.  Making it all the more challenging was that she lived way out in Pasadena, so I had to drive her 40 minutes back home and then I returned another 40 minutes back to my apartment.  I was okay, but barely, with gritted teeth.  And that night, I slept about two hours.  Though there was a lot of writhing while I was awake.  What I learned the next day when describing the symptoms to my dad who was a doctor is that...well, I had kidney stones.  (For those who don't know, this has been described as the closest a man can come to experiencing the pain of child birth.)  The moral of this story, as I've often told people, is that it shows how far a guy will go to have a date with a pretty girl.

So, this was the return to the place.  As I walked up the path, I felt like shouting out, "I'm back!  Did you miss me?!!"

There are a few picnic areas on the grounds, a small performance venue, a snack shack, and up ahead a ways on the left (in the photo above) there is a Shakespeare Garden, where Will Geer planted every flower mentioned in a Shakespeare play.  They put on a repertory program of about six plays every season, including one or two Shakespeare productions, and have educational events, family events, classes and more.  This year's schedule comes to an end tonight, but they'll start up again next June.  You can read more about it at the link at the top of this article.

The centerpiece is, of course, the main stage, which is an outdoor amphitheater.  I'm going to guess it seats about 750.  The lower tier is wooden benches and backs (oak perhaps? I'm not good at that sort of thing), which were surprisingly comfortable.  The upper tier is cement.  There are backs, but they're recessed a bit.  I tried it out, and it was actually fine, thought the wooden are far better.
​​

The environment is wonderful.  It feels reasonably intimate, and the acoustics are good -- and it's a pleasure to see a play without microphones.  That's no small feat, given that it's outdoors, so you don't have baffling to improve the sound, and the seating goes up a ways, so voices have to carry.  And all the while, the actors are competing with the sound of crickets in the night, and any traffic that may be passing by on Topanga Canyon Road.

(There are no crickets during the daytime matinee performances, though traffic might be a little heavier, though it's still not the busiest of roads.  Nighttime does get pretty chilly in the canyon, especially later in the season, but I chose an evening performance between the daytime there can get warm during the summer.  At least if it's chilly, you can bundle up.  And it wasn't that bad.  A sweater and light jacket was fine.

What I particularly like is that you are indeed out there in the woods.  The background is the forest.  And that tree you see on stage -- it's not a prop.  It's a tree growing on the spot.  They built the stage around it.
​

Anyway, it was a wonderful play, terrifically performed and a great theater environment.  It only took me a couple decades to get back -- and no, I don't think it was psychosomatic reasons that kept me away... -- and I look forward to back next season.  Or at least not in a few decades.

This is a yowza.  I mean, seriously, this is a serious yowza.  Even if you don't like theater or Broadway but care at all about popular culture, literature or history, stick with me here.  It's -- there is some really special yowzarosity here.

This is a recording of the 1960 Tony Awards.  By itself, that would be special enough -- because this is before it was even a national broadcast but was only shown in New York.  Though the results were anticipated nationally, with Broadway in its Golden Age, the broadcast itself was pretty much a local secret.  But that's not even close to why it's so special. 

In fact, in many way, this is not especially good television.  It's very dry, a bit stilted and there's no entertainment,  just a presentation of awards.  And half a century later, there will be people on stage here who most audiences won't recognize.  Though make no mistake, it's still great history, and there are a lot of seriously impressive presenters and winners.  Just for starters, it's introduced at length by Henry Fonda.  But that's not the point here.  The point is that, among all the dryness and great highlights, there are these two particular moments that are particularly special.  One will be most-special to lovers of theater, though I think it will still hold meaning for many others.  But it's the second one that leaps out above everything.

For me personally, aside from all that, the reason I especially wanted to watch this 1960 Tony broadcast when I saw it existed is because of its connection to what readers of this site know is perhaps my fave musical, Fiorello!, with a score by my recent pal Sheldon Harnick and Jerry Bock.  What I knew from the date is that this was the year that Fiorello! tied with The Sound of Music for Best Musical.  (And get this, one of the shows that didn't win was Gypsy.  That's how great this year was.)  I really wanted to see that.  As a result of it winning, though, what is so special in this broadcast is who gives the acceptance speech for Fiorello!  It's the show's director, who is one of the legends in theater history -- George Abbott!  At the time of this broadcast, the 72-year-old Abbott was already a legend -- but what's remarkable is that he lived for another thirty-five years, passing away at the age of 107, and still working (albeit as a consultant) until he was 100.  So, it is a complete historical joy to see his speech, which comes around the 44:00 mark.  (Later in the broadcast he wins for Best Director, but his speech is very short.  Basically, "It's nice to be up here again.")  George Abbott, for goodness sake.

But as wonderful as that is, and it's pretty wonderful, it's the other moment that is the topper.  The Tonys decided to give a special award that year to honor a unique and beloved revue, A Thurber Carnival, which was based on short stories by James Thurber, probably one of the two greatest humorist in the history of U.S. literature, along with Mark Twain.  (For those who haven't read his work, check out "The Night the Bed Fell" or Fables for Our Time, or know that the recent movie, The Secret Life of Walter Mitty was loosely based on his story.)  And because of that...the award they give here is to -- yes, James Thurber!!!  I'm going to guess that as renowned as Thurber is, whether you've read him or just heard of his work, most people today have never seen James Thurber or even heard him speak.  And this is your chance.  And the thing is -- he's absolutely terrific.  Not just charming and whimsical, as you'd hope he'd be, but also wonderfully serious for a reason I won't give away.  But the warm, lovely speech turns bluntly pointed, yet is so very understated that it's all the more impactful.  As you watch it, I'll just remind you  to keep in mind when this ceremony occurred, and its time in history. Anyway, if all you want to see in this broadcast is Jame Thurber, that's plenty enough, and it comes around the 25:45 mark, so you can jump directly to it.  (You should also know that Thurber was near-blind at this point in his life, which is why he's being lead around by his friend and the revue's director Burgess Meredith, who also gets an award.)

I'll note, as well, that If you do stick around through Thurber's speech and then Meredith's, the next presenter is Vivian Leigh.  That's the kind of show it is.

As I said, much of this broadcast is bone dry, so most people might prefer to jump to some of the other highlights. For those folks, I'll give you a bit of a road map.

Another good moment is when Jackie Gleason wins as Best Actor in a Musical for Take Me Along which comes at 59:00.  (Readers here with good memories will recall that I've written about this show a few times and posted several songs, most notably here and here.).  

There's also a very nice sequence with Helen Hayes presenting an award at 56:00. (I was going to say, "the legendary," but this video is so overloaded with such folks that it would become redundant.  For instance -- ) Not long after that, Mary Martin wins for Best Actress in The Sound of Music, which comes at 1:01:15. (Again, how great a season is this?  She beats Ethel Merman in Gypsy., which may be the most famous performances by an actress in Broadway history.  Boy, those were the years...).  . 

Jumping back to earlier in the broadcast, there is a Fiorello! moment I particularly liked, though I think many may find historically interesting, regardless.  At the time he was cast to play the title role in Fiorello!, Tom Bosley was an unknown actor, but he moved out of obscurity when he won Best Supporting Actor in a Musical.  Of course, 15 years later he would come to greater fame playing the father 'Howard Cunningham' on Happy Days. But his performance and Tony win for Fiorello! is the springboard that brought him his first major attention and launched his career, and his thrilled-speech comes at 37:00. 

There are other highlights, but those are the ones which most stand out.. Mainly however, it's those first two segments that I know those with sense of theater and literature and history will utterly love.  They're sort of amazing to see.

Most especially James Thurber.  And if couple minutes is all you jump to and watch -- this is still a yowza.  James Thurber!

I was sorry to read about the the passing today of the great playwright Sam Shepard, at the age of 73. He won a Pulitzer Prize for his play Buried Child and wrote other works that included True West, Fool for Love and Curse of the Starving Class.  He later returned to his very-early days of acting and had a successful career at that, getting an Oscar nomination for Best Supporting Actor in The Right Stuff portraying Chuck Yeager.  His many other films included Days of Heaven, Resurrection, Baby Boom, Black Hawk Down and Steel Magnolias. 

I worked with him on one movie, the very little known Bright Angel, which was based on two short stories by the acclaimed author Richard Ford.  It was a solid, small independent film that had a very good cast for such a tiny, unknown movie that included Dermot Mulroney (who was the star), Delroy Lindo, Bill Pullman, Mary Kay Place, Valerie Perinne, Burt Young, Lily Taylor and Benjamin Bratt in what might have been his first movie, along with Sam.  And it was in one particular instance dealing with Sam Shepard that was perhaps my finest moment as a movie publicist.  (Which I suppose is not saying a lot, given that movie publicity is not filled with fine moments...)

In the film, Sam played a small, but important supporting role (I think as Dermot's father, though I wouldn't swear to that at this point), so he wasn't at the filming location in Montana all that much, maybe a few days.  Sam was a nice-enough fellow, willing to chat, though taciturn and a bit distant, seeming to prefer the quiet and being alone, there to do his job.

At one point, a video crew hired by the company came up to Montana to shoot for two days and get material for putting together an "electronic presskit," the EPK  They timed their visit to be there specifically when enough of the actors would be around, but most especially Sam Shepard.  He would be on the set filming during their second and final night, when we were out on a big field all evening until the wee hours of the morning, a ways outside of our base residence of Billings.

All was fine as the video team was getting their interviews and behind-the-scenes footage...but with one tiny hiccup. The night they showed up on the set, Sam absolutely refused to do an interview.  Nope, no way, doing a video interview was not for him, no, absolutely not.  I'm not sure if he was against all publicity (I suspect that wasn't the case), or if it was just because this was such a small role and he didn't want it made to seem otherwise, or maybe because it was to be videotaped, rather than a more simple print interview.  I did sense that he wasn't a publicity hound and was reticent to do publicity in general, but mainly was adamant about not doing publicity specifically for this.  Not at all, nothing.  Sorry.  Nope.  I asked a few times, as politely as possible, but the answer was always a blunt, polite, but crusty, "No."  

(I didn't try to do an interview for my own written purposes, but I didn't think I really had to, and so didn't want to push him for it, preferring to put my efforts into the video interview.  During his time there, I had chatted with him briefly a few times and got some off-handed replies that were very helpful, which I marked down after walking away, and also picked up random comments from standing with him as he talked with the director about the movie, so I could just use those in fleshing out the production notes I was writing.) 

His refusal to do a video interview was causing great stress for the "EPK" crew.  Though he wasn't the star, and it was just a small role, he was still the most-famous name in the movie.  And he was the reason they were there that night.  And they knew they couldn't go back to the production company and say that, "Sorry, no, we didn't get anything from Sam Shepard" and justify what they were paid.  (And I knew, having been around on movie sets as a publicist long enough, that to cover their rear I'd no doubt be the one blamed for it all, how the unit publicist just was no help and couldn't get Sam Shepard to talk to them.)  They were able to get some behind-the-scenes footage of him when acting, but that wasn't remotely good enough.  And as the pitch-black night went on and got later and later, they got more and more concerned.  They'd ask me to try again, but there was a limit I could do -- it seemed that pushing any farther than I had risked pissing off Sam Shepard, and not only might he shut down, but I'd be reamed out for mucking up the set.  I'd keep my eye on him, seeing how his mood was, go over to chat and listen for any crack in the exterior, but I could tell that the answer was no, period.

And then I had my Great Revelation.

I explained it to the video crew -- I said I knew from chatting with Sam since he'd arrived in Billings that he was a massive admirer of Richard Ford's works, and in fact that was one of the main reasons he agreed to be in the movie, in such a small role.  I said to the video director that I thought it was remotely possible that Sam might be willing to answer a couple questions on camera specifically and only about Richard Ford, to help promote a fellow-writer's works.  If I could get him to do that, would that be enough for the video?  The guy lit up -- that would be great, it would work, and besides, "Once I get him on camera, I'm sure I can get him to talk about some other things."  If he couldn't though, he would be really happy to get anything with Sam Shepard on video.

So, I kept an eye on things, picked my moment when it seemed all was low-key, and went over to Sam who was sitting alone, off to the side.  It was probably about 2 AM at this point.  I laid out my thought to him, might he be willing to talk about Richard Ford -- and Richard Ford only -- to the video crew for about three minutes?  To get some well-deserved attention on the novelist?  And to my utter relief, Sam said yes, he'd be absolutely fine answering a couple questions about Richard Ford on camera.  O huzzah!

When I told the video director, he was overjoyed.  They set up their camera, asked their few questions about Richard Ford and -- exactly as he anticipated -- once he got Sam talking on camera, he was politely able to stay pleasant and conversational and keep Sam chatting.  And in the end, they got about 15 minutes of Sam Shepard on video.

Afterward, the video director was in heaven.  It seemed like he was beaming so much that it shined through that very dark Montana night.

Just to finish things up, here's a short trailer for the movie.  It really wasn't a "thriller" like the narrator says, but far more a character study of people impacted by their challenging circumstances, although there was plenty that was tense throughout in the edgy story.  And all the better, you'll also get to see scenes here from that dark night out on the field.  And a bit of Sam.

The other day when writing about going to the Muppet organization's Puppet Up! improv event, I forgot to mention my favorite ad lib --
 
One of the Muppets that they use is a hot dog.  (In fact, they sell it in the courtyard beforehand.)  There was one improv sketch with four of these hot dog Muppets – one was a maid, another a doctor, one a cowboy, and the last just like this hot dog below.  At one point in the sketch when things were getting loopy, this fourth hot dog started looking around at the other three, seeming to be a bit lost, and then suddenly jumped in, “Hey, I didn’t realize we were supposed to wear costumes.”

And hey, as long as we have Puppet Up! on the table, here's another video from the folks.  This is a less-intimate environment than at their home studio, but takes place at the Melbourne International Comedy Festival.  (As such, it's a well-produced video, so you get a good sense of the experience, seeing the performers in action, but also the results on the big monitor.)  It's all enjoyable -- and that's Brian Henson, Jim Henson's son, in the first sketch, performing as the warthog -- but the second improv sketch that begins about at the 3:10 mark is particularly fun, especially for this very appreciative Aussie audience.

On Saturday, I went to the Puppet Up! - Uncensored event that those of you who read Mark Evanier's site have seen him rave about for a while.  It's put on by the Jim Henson organization (or more properly their Henson Alternatives division) and takes place once or twice a year at their Hollywood studio.  This is an old facility that in its early incarnation was Charlie Chaplin's studio.  It seems to seat about 250, and though general admission they assign tables when you arrive.  So after visiting in the courtyard for a while, I headed off to my table front-and-center, and Mark and his group went off to theirs.

It's a bit difficult to describe well, since it's unique.  Basically it's improv with Muppets.  Though they also have some prepared material and re-create a couple of classic Muppet sketches from the past.  (For our show, it was "I've Grown Accustomed to Your Face" and "Java.")  It's all done out in the open, so you can see the work being done by the actors, but there are monitors, as well, in case you want to watch like on television.  They begin the evening with a very funny film about the history of puppetry.  And there's even some digital puppetry tossed in there, as well.

(You can read more about it and check out some behind-the-scenes videos here on their website.  And also probably get on their mailing list to let you know when they're dong their next show.)

It's awfully entertaining and very well done.  There's no video (at least yet) of last night's who, but I've found a couple videos where they do the same premise as two sketches on Saturday, just with totally different results.  Though the show has "Uncensored" in the title, and there is definitely off-color material, it's not a raunchy night, were the actors do their best to be as dirty as possible.  Rather, they go for fun and creativity, but being "uncensored" frees them up if that's where they scene most-properly goes.

This first is introduced by host and the evening's director Patrick Bristow (who is an actor, and you may recognize him from the Ellen show when she had a sitcom).  It's an improv Film Noir, where the audience shouts out suggestions for what the various foundations will be.  We had a Film Noir, as well, so clearly that's one of their go-to premises.

As host Bristow says (and the audience shouts with him) when calling the next group of actors waiting off the the side to perform, "Puppet up!!"

This was probably my favorite premise of the night.  Not that some other sketches weren't funnier, but I like the idea behind this the most, and it was nothing I'd seen at an improve night.  Host Bristow explains the premise, but the video misses some of the opening, and so it might not be fully clear.  Bristow has gone into the audience to find a couple -- most likely married.  He then asks them questions about how they met and their first date, and then the Muppet actors have to improv that first date.  Making it particularly fun is a nice twist, where the two real-life subjects get to ring a bell or hit a buzzer when the improv actor get something "right" or "wrong" about the date.  My only quibble here is that on Saturday the sketch went much longer and was a long hoot.  This is more of a short hoot...

​Puppet Up!

I'm planning a trip to back Chicago in next month, so I wanted to check what theater is going on in the city, since it's usually so vibrant.  There are some interesting productions, including the Lyric Opera putting on a My Fair Lady (which is probably a wonderful stage, though I thought it was an odd choice when they announced it last year), and the Court Theatre putting on Harvey, one of my favorites.  And two of their companies that have won Tony Awards for Best Regional Theaters have interesting productions -- the Goodman Theatre has Pamplona with Stacy Keach as Ernest Hemingway and the Lookingglass Theatre is putting on Moby Dick.  (This must be their year for doing adventure shows about the ocean, since later in the season they have a stage version of, of all things, 20,000 Leagues Under the Sea.  No word yet if they will be providing the audience scuba gear.)

But it's another of the city's Tony winners for Best Regional Theatre, the Chicago Shakespeare Theater which has a play that most intrigues me.  Not just for what it is, but that it's an ideal venue for it.  A stage adaptation of the Oscar-winning film, Shakespeare in Love.  This isn't a premiere -- it opened in the West End of London, and played at the Ontario Shakespeare Festival in 2014.  But as far as I know it's the first production in the U.S.  The stage version was adapted by Lee Hall, whose many works include the films War Horse and Billy Elliot, which he adapted for the stage musical.

I don't know if I'll be able to make it to any of these shows -- or elsewhere -- since my schedule isn't all worked out yet.  But here's a trailer of sorts of Shakespeare in Love, which got a very nice review by the Chicago Tribune's , critic who had also seen the show in Canada and hadn't liked the staging there but found this version much more lively.  

Back in October, 2013, I saw an offbeat production at the Writers Theatre in Glencoe, Illinois which was one of their rare shows brought in from an outside company.  It was from The PigPen Theatre Co. called, The Old Man and the Old Moon, and I thought it was wildly inventive, joyously clever and wonderful, writing a long review of the show.  (Several months back, I also wrote here about PigPen's newest show, The Hunter and the Bear, which they put on at the Writers Theatre new venue, and it was a joy, as well.  Not as much as The Old Man and the Old Moon, but still a total pleasure.)

The good news for people in Southern California is that The PigPen Theatre Co. is bringing The Old Man and the Old Moon to the Old Globe Theatre in San Diego.  In fact, it opened a few days ago, on May 13 and runs until June 18.  It's a bit of a drive or train trip from Los Angeles, though people do it all the time, about 2-1/2 hours.  And this isn't a play that you're likely to see other people do.  It's probably PigPen or nobody

Here's the preview trailer for the Old Globe's production, which uses live action, shadow puppetry, offbeat stagecraft and music.  You can get ticket information here.

And here again is that original article I wrote about the show back in 2013 (before the Writers Theatre had built its new, impressive theater center with two stages and an auxiliary arena).

Oddly, it seemed like about 15-20% of the audience left at intermission.  As I said, I enjoyed the second act more (so they missed that), but it wasn’t like the first act was “bad” – it wasn’t remotely, it’s enjoyable, though it’s Stoppard at his most theoretical with word play, so it takes a bit to settle in.
 
You might enjoy this amusing video.  They showed it before the play began – it’s Radcliffe and his co-star McGuire taking the audience on a tour of the Old Vic theatre in London and talking about the play.

Last evening, the phone rang around 8 PM.  It was my pal Mark Evanier calling to say that he had an extra ticket for an Audra McDonald concert in Beverly Hills and wanted to know if I'd like to join him and a couple friends at 9:30.  

The evening was a different sort of thing -- half-singing and half sit-down chatting with Seth Rudetsky (who also accompanied her).  I’m not a fan of his, I find him too snarky and self-absorbed, though he's an extremely good pianist.  Happily, he was reasonably low-key for him, and since he's known McDonald for decades (he was one of her first accompanists, as far back -- if I understood what was said correctly -- as when she was still in college at Julliard), he therefore knew a lot of stories to throw at her unexpectedly, and even picked random songs for her to sing, several of which she hadn't done in so long that occasionally she'd have to turn to him to prompt a line.  (One song was something she had done as a strange, very funny "encore" when in the fourth grade playing the Witch in Hansel & Gretel.  I'd have preferred more singing, but the conversation was breezy and enjoyable.  So it was all quite good.  

One quibble.  It took us longer to get out of the theater than ideal, walking all the way up the aisle, because when Mark bought the tickets he unfortunately made the decision to get them in the second row.  Okay, as far as quibbles go that doesn't register much...  Yes, they were great seats.

One of the songs she performed was an early cabaret number written by Jason Robert Brown, who subsequently went on to win two Tony Awards for Best Musical Score, for the shows Parade and Bridges of Madison County.  This was a piece called "Stars and the Moon," and I thought it was wonderfully written and sung.

Here's a video of her singing it elsewhere.

As I've written a bit here lately, a new production of Hello, Dolly! recently opened on Broadway with Bette Midler.  To help promote the upcoming release of the Original Cast Album, the selections of that very album has been posted for a limited time online.

As readers of these pages know, I've done a lengthy analysis of four different versions of the show -- the original production with Carol Channing, the "new" cast recording with Pearl Bailey, the London cast version with Mary Martin, and songs from the production that closed the original run with Ethel Merman.  So, far beyond this being Bette Midler's return to Broadway, I was intrigued to hear how Jerry Herman's classic score is handled.

My sense is that this revival's recording is perfectly nice, and Bette Midler does a solid job.  But she’s oddly mellow, surprisingly without the edge you’d think she’d bring to the role.  Maybe that’s more a function of making a recording rather than performing live.  The only number she has sparks with, I think, is “So Long, Dearie,” which is intended as a snarky, sarcastic number as Dolly chides Horace Vandergelder, ostensibly telling him off which trying to attract his interest.  Midler also does a pretty good job on "Before the Parade Passes By."  Everything else strikes as fine and pleasant, though not stand-out.
 
Interesting, I thought the supporting characters actually do the best job, notably Gavin Creel who plays Cornelius Hackl, and most especially Kate Baldwin who I’m a big fan of, as Irene Malloy.  David Hyde Pierce does a personable job as Horace Vandergelder, though I think he's a little miscast.  (The character is an aggressive, blustering almost-bully, and Pierce's persona tends to be the opposite.)  He does get a bonus here, though -- a song that had been cut from the original production, "Penny in My Pocket," which is fun to hear, though only just fair.

The arrangements are mellow, as well.  Affectionate in part, and personable, though never as brassy as the original (which I think brings out the best of the score).  Still, not all arrangements have to be that way, brash and lively -- they're not for the British cast album with Mary Martin, and are more warm and playful, and work very well, fitting the character of its star.   There are only two arrangements of this new album I'm not really much a fan of is the overture -- the first is the selection of songs is different than the original, and not as effective to me, but also quite muted.  And the second is the "Waiter's Gallop" which is an exciting and funny dance number than builds and builds in anticipation of Dolly returning to the Harmonia Gardens Restaurant, which is the "Hello, Dolly!" number, and the arrangement here seems to have changed the music, but that may be because it has little drive and humor to it.  It should have enthusiasm, and it's just a fine dance number.

I was trying to figure out what song to post here, and then I realized -- well, that's a foolish thing to have to decide.  Of course I know what song to post.  And you know, too.

Here it is.

I'll provide a link for the full score, but figure that not everyone will want to go and listen to the whole thing.  So, instead, I post a couple other numbers to give more of a sense of the highlights and a quicker way to get into such things.  

​Here, for example, is that number I mention that I think Bette Midler does quite well, and comes across as a lot of fun, "So Long, Dearlie."

Here, too, are the two supporting performers who I was taken by -- Gavin Creel and my fave Kate Baldwin singing, "It Only Takes a Moment."  (It's mainly Cornellius's song, but Irene comes in towards the end.  More notable for Baldwin is the song, "Ribbons Down My Back," which I've never been a big fan of, finding it a bit bland, but in the right hands -- such as Baldwin's here -- it's gorgeous.)
​

And finally, here's a taste of David Hyde Piece.  I almost decided to post the new song, but since it's only fair, I figured I'd go with Horace's traditional and fun song, "It Takes a Woman."
​

Anyway, that's a taste of the show.  If you want to hear the entire score, just click here and either listen to the whole thing, or select individual songs.  Keep in mind that this link will only be posted for a limited time.  For all I know, these embedded songs here will, as well, but at least you have them at your fingertips right now.  But if you plan to wait to go to this site, don't wait too long.  Because Hello will no doubt soon be saying goodbye...