Time for a Call Me Madam revival?

[StardustsChild]

Posted: 9/14/18 at 8:34pm

I've been relistening through Berlin's show of the 40's and 50's as of late, and Call Me Madam in particular has been in heavy rotation for me - while not a perfect show, the score truly holds up beyond nostalgia, and with the political satire angle, I think it could do well in today's revival market. 

Encores had a production in the mid 90's starring Tyne Daly in Ethel's role, but it unfortunately didn't go further than that - I would love to have seen Tyne perform The Best Thing For You. 

What are you thoughts? Could Call Me Madam work to modern sensibility? Who would you want to see in a remounting? 

[Jordan Catalano]

Posted: 9/14/18 at 8:36pm

Encores is doing the show again in February.

[StardustsChild]

Posted: 9/14/18 at 8:38pm

Jordan Catalano said: "Encores is doing the show again in February."

Well then! I completely missed that press release - thank you for the quick reply Jordan, I'm going to have to work on getting a ticket. Any word on casting?

[bwayboy22]

Posted: 9/14/18 at 8:54pm

Any buzz on who may star? Patti seems like the obvious choice and it works with Company closing at the end of the year. 

[GavestonPS]

Posted: 9/15/18 at 12:54am

Reprise LA revived it about a decade ago with Karen Morrow and Hugh Panaro. Their "You're Just in Love" was absolutely epic!

I saw it with Ethel Merman on tour in 1966 and even then the book was heavily rewritten to refer to LBJ rather than Truman. Half the book consists of the leading lady on the phone with the White House. I'm not saying you couldn't get laughs with Trump--Who can't?--but at this point, even the score is hopelessly dated.

The show makes hay with the Marshall Program, in which the US gave money right and left to help combatants in WWII (including our enemies in that conflict) rebuild themselves so as to stave off the appeal of Communism. In 2018, it has been decades since the US led the world in humanitarian aid as a percentage of GNP. The myth that we support the world persists (see any speech by our moron president), but it simply is not true.

Now that Trump is actively trying to retreat from ALL our world commitments, the jokes in Call Me Madam would be funny for all the wrong reasons. Even a new book would also require a rewritten score.

Don't get me wrong: Call Me Madam was one of the few show albums my small town library had when I was a kid. I saw it twice on tour with Merman and twice again with Morrow. But I am old enough (64) to have grown up during the Cold War so there's a sort of nostalgia for me in the obsolete jokes. But I wouldn't try to sell the evening to anyone younger.

Updated On: 9/15/18 at 12:54 AM

[GavestonPS]

Posted: 9/15/18 at 1:02am

ETA if someone wants to satirize the USA in the decade after WWII, L'il Abner has a better score.

[A Director]

Posted: 9/15/18 at 1:06am

It's time has come and gone.  Satire depends on the audience knowing the target!

[bk]

Posted: 9/15/18 at 1:15am

Nothing was "epic" about the Reprise "production" with Karen Morrow, who I love and adore.  She was hung out to dry thanks to the director, and it was simply awful in every way.  You're Just in Love was okay, nothing more, and the rest would have required a director who understood pace and how to actually direct this kind of show.  But that was Reprise for you.   You want epic, I saw the show at the Valley Music Theatre around late 64 or 65.  Theater in the round in Tarzana.  THAT was epic.  Oh, the stars were someone named, um, let me think - Ethel Merman and Russell Nype.  THAT was epic.

[GavestonPS]

Posted: 9/15/18 at 3:07am

^^^ You saw Merman and Nype IN THE ROUND?! Whatever made you think you could even offer an opinion?

Seriously, I don't entirely disagree with you on the Reprise production. I just said the one number was smoking, and it was the night I saw it. The audience wouldn't let them stop until they did a "real" encore (their third) in addition to the fake encores Reprise always programmed into their shows.

(Of course, one might compare that to the first time I saw the Merman/Nype production (with a proscenium, as God intended): an elderly matinee audience made them sing the counterpoint chorus SEVEN times. Merman and Nype were dancing the Twist by the last encore and all semblance of representation had been dropped.)

I don't know why you took a tone as if you and I were arguing when, except for seeing "You're Just in Love" on different nights, it seems to me we agree completely. Hmmm...

Updated On: 9/15/18 at 03:07 AM

[GavestonPS]

Posted: 9/15/18 at 3:08am

A Director said: "It's time has come and gone. Satire depends on the audience knowing the target!"

Well said, and far more succinctly than most of us.

[darquegk]

Posted: 9/15/18 at 8:33am

Related: Lil’ Abner could work if it were revised to be a stand-alone piece that works without an audience recognition or reverence for the long forgotten comic strip. If you present the notion of Dogpatch as high concept instead of as nostalgia, it could work.

With one exception. If it’s a period piece it’s a period piece, but otherwise, hillbilly humor hasn’t aged well. Partially because the hillbillies are all transmuted info new stereotypes today (survivalists, dangerous mountain outlaw communities, or just standard rednecks/white trash), and partially because a lot of that hillbilly humor seems like punching down nowadays. It’s like trying to use an old character type like Ching Chong the buck toothed Chinese railway man: both recognizably prejudiced, and totally divorced from the modern era.

[scampsweep]

Posted: 9/15/18 at 1:54pm

Patti LuPone would definitely be the obvious choice. Or how about Donna Murphy?

How old is the character of Sally Adams meant to be? Forties seems appropriate to me (though Merman was probably much older when she played the role), so even someone like Sutton Foster could probably be suitable. It is musical comedy after all. 

When are they likely to announce casting information for this? Is it usually a last-minute announcement at the Encores or is casting usually known well in advance? 

Updated On: 9/15/18 at 01:54 PM

[bk]

Posted: 9/15/18 at 2:15pm

darquegk said: "Related: Lil’ Abner could work if it were revised to be a stand-alone piece that works without an audience recognition or reverence for the long forgotten comic strip. If you present the notion of Dogpatch as high concept instead of as nostalgia, it could work.

With one exception. If it’s a period piece it’s a period piece, but otherwise, hillbilly humor hasn’t aged well. Partially because the hillbillies are all transmuted info new stereotypes today (survivalists, dangerous mountain outlaw communities, or just standard rednecks/white trash), and partially because a lot of that hillbilly humor seems like punching down nowadays. It’s like trying to use an old character type like Ching Chong the buck toothed Chinese railway man: both recognizably prejudiced, and totally divorced from the modern era."

I did a critically acclaimed production of Li'l Abner four years ago - I did a few things to it - it worked perfectly and got huge laughs from beginning to end.  Li'l Abner requires a director who understands the jokes, and a cast who understands how to play them.  But you can't do it exactly as written, but then again you have to know what to adjust, which I did :)  We sold out the entire run.

[bk]

Posted: 9/15/18 at 2:18pm

GavestonPS said: "^^^ You saw Merman and Nype IN THE ROUND?! Whatever made you think you could even offer an opinion?

Seriously, I don't entirely disagree with you on the Reprise production. I just said the one number was smoking, and it was the night I saw it. The audience wouldn't let them stop until they did a "real" encore (their third) in addition to the fake encores Reprise always programmed into their shows.

(Of course, one might compare that to the first time I saw the Merman/Nype production (with a proscenium, as God intended): an elderly matinee audience made them sing the counterpoint chorusSEVEN times. Merman and Nypewere dancing the Twist by the last encore and all semblance of representation had been dropped.)

I don't know why you took a tone as if you and I were arguing when, except for seeing "You're Just in Love" on different nights, it seems to me we agree completely. Hmmm..."

Tone on the Internet is in the eye of the beholder, I'm afraid.  I offered my take on the production.  The tone in the post was for the production, not in response to a post.  As to the show in the round, it was grand fun and Merman was having a ball, which is good when you're the hostess with the mostess.  You're Just in Love brought the house down and yes, many, many encores.  

 

[JSquared2]

Posted: 9/15/18 at 3:37pm

bk said: "I did a critically acclaimed production of Li'l Abner four years ago - I did a few things to it - it worked perfectly and got huge laughs from beginning to end. Li'l Abner requires a director who understands the jokes, and a cast who understands how to play them. But you can't do it exactly as written, but then again you have to know what to adjust, which I did :) 

 

Yes, Bruce -- I'm sure that you believe that is EXACTLY what you did (I saw it and you're giving yourself a bit too much credit, dear)! 

Don't strain your neck trying to kiss your own a** so hard!   

[bk]

Posted: 9/15/18 at 4:08pm

JSquared2 said: "bk said: "I did a critically acclaimed production of Li'l Abner four years ago - I did a few things to it - it worked perfectly and got huge laughs from beginning to end. Li'l Abner requires a director who understands the jokes, and a cast who understands how to play them. But you can't do it exactly as written, but then again you have to know what to adjust, which I did :)



Yes, Bruce -- I'm sure that you believe that is EXACTLY what you did (I saw it and you're giving yourself a bit too much credit, dear)!

Don't strain your necktrying to kiss your own a** sohard!

"

Had you actually seen it you would not be making this post.  But thanks for playing.  And yes, I do believe that is EXACTLY what I did, and happily every single critic who saw it agreed as did the audiences.  But had you seen it, you would know that.  Sign your name, chum - level the playing field.  Do it, do it now.  But I don't need to speak for myself.  Here.  

https://www.newsfromme.com/2014/05/23/druthers/

Oh, and...

"Director Bruce Kimmel trimmed the book, had David Siegel re-orchestrate the score for a five piece on stage “jug” band and through his crisp guidance brought the show in at a tight two hour running time. And the laughs flowed non-stop. These were not uncomfortable titters from an audience viewing a re-thought comedy like I recently experienced. These were full-bodied, from the pit of the stomach, belly laughs. Capp’s, and Melvin & Frank’s, political and social satire is still relevant today. The cast hit the punch lines with deadly accuracy and their stupefied takes were right on. Musical Director Wayne Moore led the band and the score sounded lovely and right in the flavor of the piece. Choreographer Kay Cole did some wonderful work with her large (32 person) cast. The varied tempos and characters involved in the “Sadie Hawkins Ballet” were well delineated. Tesshi Nakagawa provided the perfect black and white comic strip scenic design and James Moody’s lighting design highlighted it smoothly. The costumes by Roxanne De Ment & Natalya Shahinyan were spot on, especially Daisy Mae’s blouse which seemed painted on or affixed with magic tape. No credit was given for the makeup but the residents of Dogpatch wore so much dirt one feared for the environment.

The cast was headed by the perfect-for-their-roles stunning twosome of Evan Harris and Maddison Claire Parks. As Abner, Harris made a tall, strapping hunk with the befuddled countenance of a truly gullible and trusting innocent. As Daisy Mae, Parks was winsome, winning and truly lovely. Plus they can deliver the laughs and boy can they sing. “Namely You” and “Love in a Home” were touchingly sung by the duo. John Massey as Marryin’ Sam steals every scene. His double take and triple take to Daisy Mae’s lament that she is “Past My Prime” at 17 had the audience howling for more. Massey also led the showstoppers “Jubilation T. Cornpone”, with an able assist from Sami Staitman, and “The Country’s in the Very Best of Hands” with Harris."  Rob Stevens (the show was nominated for several Robby Awards and John Massey won for his Marryin' Sam)

Oh, and... from Broadway World itself: 

https://www.broadwayworld.com/los-angeles/article/BWW-Reviews-Bruce-Kimmels-Dynomite-LIL-ABNER-Lights-Up-LACC-Stage-Through-Tomorrow-Only-20140523
 

Updated On: 9/15/18 at 04:08 PM

[GavestonPS]

Posted: 9/16/18 at 1:59am

darquegk said: "Related: Lil’ Abner could work if it were revised to be a stand-alone piece that works without an audience recognition or reverence for the long forgotten comic strip. If you present the notion of Dogpatch as high concept instead of as nostalgia, it could work.

With one exception. If it’s a period piece it’s a period piece, but otherwise, hillbilly humor hasn’t aged well. Partially because the hillbillies are all transmuted info new stereotypes today (survivalists, dangerous mountain outlaw communities, or just standard rednecks/white trash), and partially because a lot of that hillbilly humor seems like punching down nowadays. It’s like trying to use an old character type like Ching Chong the buck toothed Chinese railway man: both recognizably prejudiced, and totally divorced from the modern era."

Excellent analysis, as usual. And too bad, because I truly love the score, which may be the most tuneful and hilarious in the annals of musical comedy.

But I don't know what "high concept" could make sense of "What's good for General Motors is good for the USA". I can imagine half the audience loudly sighing, "Huh? What is General Motors?"

And don't even get me started on the homophobic subplot that all body builders are either gay or eunuchs. I mean I get it and I remember the period, so I overlook the theme, but I don't know if Gen X and Millennials will do the same. I suppose a steroids-make-your-balls-shrink subplot could be written in instead.

(BTW, when I was a kid in a small city with only one theater, lots of high schools were doing L'il Abner because it has so many juicy supporting roles. I lost track of how many amateur productions I saw. I've never seen it done professionally, except for the very faithful film.)

But I absolutely agree with your main point: I'm not sure I'd find Trump Nation so amusing these days.

[GavestonPS]

Posted: 9/16/18 at 2:15am

scampsweep said: "Patti LuPone would definitely be the obvious choice. Or how about Donna Murphy?

How old is the character of Sally Adams meant to be? Forties seems appropriate to me (though Merman was probably much older when she played the role), so even someone like Sutton Foster could probably be suitable. It is musical comedy after all...."

Merman was 42 when she opened the show on Broadway. She was 58 when BK and I saw her on tour and that worked fine, too.

The main romantic plot is absolutely "adult" (I don't mean x-rated, just that the two characters, Mrs. Sally Adams and Cosmo deal with adult issues like career conflicts, patriotism, etc.) As long as the two are credible together, the casting can work.

Did Patti LuPone develop a sense of humor when I was looking the other way? Because Call Me Madam is what Sondheim calls "low comedy" (he was talking about Merman, not CMM, and he wasn't putting her down). If LuPone is good at humor of any kind, I haven't seen it. Example: before Sally's first state affair, she has to learn to walk in a dress with a long train. Merman did a good five minutes falling over the train, until she finally pulled it between it between her legs and threw the remaining fabric over one shoulder. Tag line: "If this is a train, it must be the Super Chief!" Imagine the thud that punchline would bring today when almost nobody rides trains!

[GavestonPS]

Posted: 9/16/18 at 2:18am

bk said: "darquegk said: "Related: Lil’ Abner could work if it were revised to be a stand-alone piece that works without an audience recognition or reverence for the long forgotten comic strip. If you present the notion of Dogpatch as high concept instead of as nostalgia, it could work.

With one exception. If it’s a period piece it’s a period piece, but otherwise, hillbilly humor hasn’t aged well. Partially because the hillbillies are all transmuted info new stereotypes today (survivalists, dangerous mountain outlaw communities, or just standard rednecks/white trash), and partially because a lot of that hillbilly humor seems like punching down nowadays. It’s like trying to use an old character type like Ching Chong the buck toothed Chinese railway man: both recognizably prejudiced, and totally divorced from the modern era."

I did a critically acclaimed production of Li'l Abner four years ago - I did a few things to it - it worked perfectly and got huge laughs from beginning to end. Li'l Abner requires a director who understands the jokes, and a cast who understands how to play them. But you can't do it exactly as written, but then again you have to know what to adjust, which I did :) We sold out the entire run."

BK, I'd love to hear more about how you made it work. I don't doubt you, not at all. I just have trouble picturing it.

[GavestonPS]

Posted: 9/16/18 at 2:30am

bk said: "GavestonPS said: "^^^ You saw Merman and Nype IN THE ROUND?! Whatever made you think you could even offer an opinion?

Seriously, I don't entirely disagree with you on the Reprise production. I just said the one number was smoking, and it was the night I saw it. The audience wouldn't let them stop until they did a "real" encore (their third) in addition to the fake encores Reprise always programmed into their shows.

(Of course, one might compare that to the first time I saw the Merman/Nype production (with a proscenium, as God intended): an elderly matinee audience made them sing the counterpoint chorusSEVEN times. Merman and Nypewere dancing the Twist by the last encore and all semblance of representation had been dropped.)

I don't know why you took a tone as if you and I were arguing when, except for seeing "You're Just in Love" on different nights, it seems to me we agree completely. Hmmm..."

Tone on the Internet is in the eye of the beholder, I'm afraid. I offered my take on the production. The tone in the post was for the production, not in response to a post. As to the show in the round, it was grand fun and Merman was having a ball, which is good when you're the hostess with the mostess. You're Just in Love brought the house down and yes, many, many encores.

"

Sorry if I misread the tone, BK. No hard feelings, I promise. Karen Morrow and I were on the faculty together at UCLA, so I knew her casually. (She was on the "practical" side; I taught academics.) I mentioned to her how the first time I saw it, "You're Just in Love" had stopped the show--in the old-fashioned sense: the audience simply wouldn't let them continue until they sang it again.

Karen proceeded--at length--to talk about what a nightmare the experience was and how it threw her off and she didn't know what to do. (Fortunately, Panaro did know and the first notes of the chorus are his.) All of which I found quite odd, given her decades of experience. But a mutual friend who toured with her in Jerry's Girls tells me she is always like that.

 

[bk]

Posted: 9/16/18 at 4:15am

I love Karen.  She can be very hard on herself.  But I recorded her and we loved being in the studio together - she was so scared of the microphone and not having an audience, but I talked her though it and she's fantastic on those four tracks we did together.  She's a treasure any way you slice it.

As to Abner, I had a very specific idea about it and if you read the reviews I posted you can at least get the gist of it.  I've been very secretive about exactly what I did, but I can tell you that no reference in the show had the audience scratching their head.  It was fun to get it right and I can only tell you I had the best cast, which makes everything easy.  And the pace - I got it down to two hours WITH the intermission.  But honestly I was worried about the audience reaction.  At the invited dress all my worries went away in about five seconds - first of all the overture had a really funny bit we did in it that warmed the audience up, but I have to tell you the laughs were so huge from the minute people stepped onstage right through to the end.  And though I've been castigated by some dope in this very thread, who says he saw it, which I don't believe for one second, for kissing my own ass, well, I didn't write the show, I just did it so that it worked.  Panama and Frank and De Paul and Mercer are the writers and there are no better.   And at some point the estates of the authors (who heard about it) are going to sit down and talk about what we did and see if they'd like to license out that version.  

Updated On: 9/16/18 at 04:15 AM