Defying Gravity: The Creative Career of Stephen Schwartz from Godspell to Wicked

While reading the first half of this book I hated to put it down. Carol de Giere is a detailed reporter with a storyteller’s gift for narration that makes this biography of Stephen Schwartz a delight, especially for anyone in love with musical theatre.

It was in the second half, which is devoted entirely to one show -- Wicked -- that the book began to drag for me. I enjoyed Wicked when I saw it when it opened in 2003, but not enough to read 15 chapters about its creation and development. This is really almost enough for a book of its own, and certainly out of proportion with the first 15 chapters which cover Schwartz’s childhood on Long Island, his education, personal life, theatrical career ups and downs and his success as a songwriter for animated films.

As a whole, though, the book is a good read. It’s a gift to be able to see into the creative process of someone as immensely talented as Stephen Schwartz. De Giere, a freelance writer, did extensive interviewing with Schwartz, his friends and family, and people he’s worked with on many levels -- collaborators, actors, directors -- to put together a portrait of the development of such musicals as Godspell, Pippin and The Magic Show, Working and, of course, Wicked. She includes lyrics to many of his songs, as well as great photos of Schwartz with his family and production shots and backstage photos from his shows.

De Giere has written Defying Gravity in such a way that it will appeal to a wider range of readers than just Schwartz fans, although that category alone is legion. Pippin, The Magic Show and Wicked have all played more than 1,900 performances on Broadway, making Schwartz the only songwriter in the history of the Great White Way with three shows that have reached that milestone. Not to mention how many times Godspell alone has been performed around the world! Defying Gravity goes beyond just one man’s legacy to offer hope and a roadmap for others on the creative journey. I especially like the Creativity Notes, separate commentaries in which Schwartz offers insights, humor or painful lessons from the experience of getting a show to the stage. These are worthy reading for any theatre professional.

I’ve been recommending Defying Gravity to all my theatre friends. Check it out for an in-depth look at a gifted artist of our time and the world of stage that so many of us cherish.

Bambi and Thumper

Pal Joey

What was director Joe Mantello thinking? I love the idea of promoting the understudy to the leading role, but Matthew Risch is not only incapable of carrying this show, I’m surprised he was ever even cast as an understudy for the starring role.

I hate to be so harsh, but this is show business and when you’re staging a major Broadway revival and expecting people to pay about $100 a ticket, you need some star quality. That certainly doesn’t have to mean a bold face name -- look at the pizzazz Cheyenne Jackson gave to Zanadu when he took over for an injured lead -- but Risch hasn’t an ounce of Joey Evans’ sleazy sexiness, the magnetism that causes so many women to make fools of themselves over him. Risch as Joey wouldn’t even stand out in a room full of computer programers.

Christian Hoff had been scheduled to play Joey, the womanizing, smalltime song and dance man in 1930s Chicago in this Rodgers and Hart classic. The official word is that he sustained a foot injury during previews that necessitated his leaving; the unofficial word is that he wasn’t a skilled enough dancer for the role. Well, Risch, who took over the lead in November, is a competent hoofer, but his singing is weak and his acting even weaker. Having seen Hoff twice in his Tony-winning role as Tommy DeVito in Jersey Boys, I can imagine him in the part even if choreographer Graciela Daniele had to tweak the dancing a bit. The producers should have kept him or recast entirely because the whole show revolves around Joey and Risch hasn’t got what it takes to pull it off.

Another miscast leading player is Stockard Channing (in photo with Risch) as Vera Simpson, the rich, older married woman whom Joey charms into fronting him in a nightclub of his own. She seems to be phoning it in from some place as distant as 1930s Chicago, which is especially disappointing when she drags through the show’s most well-known -- and provocative -- number, “Bewitched, Bothered and Bewildered.” I’ve heard advertising jingles sung far more seductively.

Jenny Fellner is effective as Linda English, the nice girl who falls for Joey, but the only real shining star in the production is Martha Plimpton as Gladys Bumps, an aging singer and one of Joey’s cast-aside lovers. If the producers wanted to recast the lead from within, they should have just put a tuxedo on her and let her play Joey. She could carry the show, and she does whenever she’s onstage. The best scene is when she sings “Zip,” about brains versus the dumb stripper’s image. It’s almost as delectable as Christine Ebersole’s hysterical performance of “Revolutionary Costume for Today” in Grey Gardens.

This revival of the 1940 musical features a new book by Richard Greenberg based on the original by John O'Hara. Music direction is by Paul Gemignani, the minimalist set by Scott Pask, shadowed lighting by Paul Gallo and showbiz and Depression-era costumes by William Ivey Long.

Pal Joey had been scheduled to play a limited engagement through Feb. 15 at Studio 54, but has been extended through March 1. I’m assuming the extension is fueled by the recent closings of more than a dozen Broadway shows, meaning theatregoers have fewer offerings to choose from. Just look at last Sunday’s ABCs (theatre listings) in the New York Times and you’ll find only a half a page instead of the usual full page. Not a lot out there. Sorry times on Broadway all around.

For Pal Joey tickets, call (212) 719-1300 or visit roundabouttheatre.org.

Mind Training -- The Power of Positive Thinking

"Change your thoughts and you change your world."
-- Dr. Norman Vincent Peale

Amazing Grace video

The beautiful new musical Amazing Grace: The True Story now has a fascinating video featuring the stars and producer, Carolyn Rossi Copeland. It's online at http://www.youtube.com/amazinggracemusical and, as the show's creator Christopher Smith says, "gives a great overview of just how close we are coming to realizing the dream of getting a truly inpiring musical focused on real world spiritual struggles and victories to Broadway."

The sooner the better, Chris!

More James Barbour!

Due to overwhelming audience and critical response to James Barbour's holiday show (see my Dec. 26 rave review), Sardi’s management has scheduled additional Saturday evening performances with this charismatic Broadway veteran.

The new concert series, entitled “LOVE SONGS,” will premiere on Saturday, Jan. 31 and continue through Saturday, Feb. 28 at
SARDI’S (234 W. 44th St. – between Broadway & Eighth Avenue). Special Valentine’s Concerts are scheduled on Friday, Feb. 13 and Sunday, Feb. 15.

For this latest offering, Barbour will sing "Loving You Keeps Me Alive," "If Ever I Would Leave You," "If I Loved You," " If I Can’t Love Her," "If Dreams Come True," "My Funny Valentine," "Embraceable You," "On The Street Where You Live," "Unexpected Song," "Autumn Leaves" and others.

The concerts are being presented by Treehouse Entertainment Inc. and Roberta Nusim for TMA (Theatrical Marketing Associates). Jeremy Roberts is the musical director.

In his most recent theatrical role, Barbour ignited audiences to thundering standing ovations for his emotionally blistering portrayal of Sydney Carton in “A TALE OF TWO CITIES” at the Al Hirschfeld Theatre. I was one of those who was wowed, and I was delighted again in a new way at his Christmas concert. If you missed those performances, make it a point to get to this one. You won't be disappointed.

For tickets, visit www.SmartTix.com or call 212-868-4444. Prices are: $60 (Premium Seating), $45, $25, and there is a $25 a person food/drink minimum.