Archives for January 2011

Here’s my list of recommended Broadway, off-Broadway, and out-of-town shows, updated weekly. In all cases, I gave these shows favorable reviews (if sometimes qualifiedly so) in The Wall Street Journal when they opened. For more information, click on the title.

Warning: Broadway shows marked with an asterisk were sold out, or nearly so, last week.

BROADWAY:

• La Cage aux Folles (musical, PG-13, adult subject matter, reviewed here)

• Driving Miss Daisy * (drama, G, possible for smart children, closes Apr. 9, reviewed here)

• The Importance of Being Earnest (high comedy, G, just possible for very smart children, closes Mar. 6, reviewed here)

• Lombardi (drama, G/PG-13, a modest amount of adult subject matter, reviewed here)

• Million Dollar Quartet (jukebox musical, G, reviewed here)

OFF BROADWAY:

• Angels in America (drama, PG-13/R, adult subject matter, closes Mar. 27, reviewed here)

• Avenue Q (musical, R, adult subject matter and one show-stopping scene of puppet-on-puppet sex, reviewed here)

• The Fantasticks (musical, G, suitable for children capable of enjoying a love story, reviewed here)

• Play Dead (theatrical spook show, PG-13, utterly unsuitable for easily frightened children or adults, reviewed here)

CLOSING SOON IN CHICAGO:

• Who’s Afraid of Virginia Woolf? (drama, PG-13/R, adult subject matter, closes Feb. 13, transfers to Washington, D.C., Feb. 25, reviewed here)

CLOSING SUNDAY IN FORT MYERS, FLA.:

• Sylvia (comedy, PG-13, some adult subject matter, reviewed here)

Courtesy of Isaac Butler, one of the most unintentionally funny commercials ever filmed:

“It was no wonder that people were so horrible when they started life as children.”
Kingsley Amis, One Fat Englishman

For the most part I’ve only talked about it in passing on this blog, but a year ago I started writing a one-man play about Louis Armstrong and Joe Glaser, his longtime manager. (The same actor plays both parts.) The play, which grew out of the research I did for my recent biography of Armstrong, is called Satchmo at the Waldorf, and a couple of weeks from now it will become more than just a furtive gleam in the author’s eye.

As part of my current residency at Rollins College’s Winter Park Institute, where I wrote the first draft of Satchmo at the Waldorf last year, I’m going to be taking part in a public presentation of the play’s opening section, the first time that any part of the script has been performed, either in public or in private. I’m staging the scenes that we’re doing–it’ll be my directing debut–and Dennis Neal, a seasoned actor who lives in Orlando, not far from Winter Park, will be playing the double role of Armstrong and Glaser. He’s mainly a stage actor, but the chances are good that you’ve seen him on screen, since his list of credits includes Tim Robbins’ Dead Man Walking and John Sayles’ Sunshine State.

I met Dennis yesterday afternoon at our first rehearsal, and within minutes I was floored. Not only is he quick and brilliantly responsive, but he instinctively sensed what I was looking for, gave it to me, then made it better than I could ever have imagined myself. It’s not my place to talk about the quality of the play, much less my staging of it, but I can absolutely guarantee you that Dennis is going to be a knockout and a wow.

The play itself is probably not what you’d expect. Most one-man shows about famous people are unchallenging, sweet-tempered exercises in hagiography. Not Satchmo at the Waldorf. I’ve tried to show Armstrong as he really was and make him speak the way he really spoke–this is absolutely not a show for kids, unless you’re the kind of parent who’d take your kids to see American Buffalo–and I’ve also tried to suggest the knotty complexity of his quasi-filial relationship with Glaser, an ex-gangster from Chicago who ran his career with an iron hand. To put it another way, I wanted to write a real play, not a piece of fawning fluff, and now that I’ve seen some of it in the rehearsal studio, I feel pretty good about the results.

I’m also enjoying my first shot at directing. Dennis says that I’m giving him what he needs in the way of guidance, and he doesn’t strike me as the kind of guy who’d say a thing like that just to be polite. Be that as it may, directing a play seems to feel natural to me, at least so far, and I can’t wait for the two of us to roll up our sleeves and really get down to work next week.

And after February 1…what? That remains to be seen. For the moment I can’t say any more than that I’ve acquired a theatrical agent and that a number of people in the business have expressed interest in the script. But now that Dennis has showed me what Satchmo at the Waldorf looks and sounds like, I’m starting to feel as though something good may come of my maiden voyage into the deep waters of playwriting.

* * *

For more information about the first performance of scenes from Satchmo at the Waldorf, go here.

This week’s video: Louis Prima and Keely Smith sing “That Old Black Magic”:

(This is the latest in a weekly series of arts-related videos that appear in this space each Wednesday.)

“A fellow of mediocre talent will remain a mediocrity, whether he travels or not; but one of superior talent (which without impiety I cannot deny that I possess) will go to seed if he always remains in the same place.”
Wolfgang Amadeus Mozart, letter to Leopold Mozart, Sept. 11, 1778

If you should happen to be in or near the Winter Park-Orlando area of Florida, I’ll be speaking about Duke Ellington at Rollins College tonight at seven p.m. under the auspices of the Winter Park Institute. Here’s part of the press release:

Teachout started writing his sixth book, Black Beauty: A Life of Duke Ellington, in the spring of 2010. The finished manuscript is due in 2013. What happens between now and then? In this exclusive progress report on the writing of Black Beauty, Teachout takes you inside his workshop and tells the inside story of how he is sculpting the public and private lives of a great artist into a large-scale narrative biography….

For more details, go here.

Duke Ellington and his orchestra perform “Satin Doll” in 1962: