Broadway Bound: The Musicals That Never Come to Broadway – Part III

Enthusiastic, amiable, wry, and at ease on stage, it’s as if director/author Robert W. Schneider and theater podcaster Charles Kirsch had been collaborating for some time. With a terrific script by Frederick Miller, the two additionally knowledgeable hosts buoy us through a selection of musicals that never quite made it to Broadway. One hopes they pair up again.

Debbie Gravitte

We begin with Swing (Robert Waldman/Alfred Uhry), centered on 1940s America, which never made it in from the Kennedy Center in 1980. Original star Debbie Gravitte regales us with the show’s increasingly apparent red flags. One day, the director/producer – apparently not a director – told his company, “Bob (Bob Fosse) is gonna come!” The very funny Gravitte repeats his announcement as if visitation from a god. Fosse’s verdict? “Close it.” We hear the western-influenced “Michigan Bound” which arrives by way of her bright animation and excellent vocal. Back-up vocalists: Roger Dawley, Aaron Gooden, Timothy Lewis, Brian George Rowell.

Bruce Landry

In 1963, Sandy Wilson adapted Christopher Isherwood’s “I Am a Camera” titling it Goodbye, Berlin. Julie Andrews was slated to play Sally Bowles but moved on to a little musical called The Sound of Music. Hal Prince found the piece too sunny. He hired John Kander and Fred Ebb which resulted in the iconic Cabaret. Bruce Landry, playing Isherwood, performs “In This Room” which is almost a tango. “Isherwood slept here/Started a great career/Then seemed to disappear…” A far cry from the eventual score. Landry has a fine voice and solid stage presence. A thoroughly winning artist.

Deniz Cardell, Richard Maltby, Jr.

Veteran lyricist/director Richard Maltby, Jr. offers a glimpse of a show in progress. ”Another chance to humiliate myself,” the self effacing talent declares. Not. The Country Wife, written with Deniz Cordell (tonight on piano), is an adaptation of a “dirty” Restoration comedy. “Oh, isn’t the world ready for that!” Maltby, Jr. himself sings “Over Ripe Fruit,” the seduction of a young man by an older woman. Droll performance is grand, the song absolutely hysterical. Looking forward to this one.

Erin Davie

From Gatsby (via F. Scott Fitzgerald’s novel) adapted by Lee Pockriss and and Carolyn Leigh, Erin Davie offers “Sooner or Later” ostensibly sung by Daisy Buchanan. When asked to participate in tonight’s show, she requested the music, only to be sent a 1969 YouTube video in which she sang the song. “Overlook it when he plays around/Have your hair done twice a day…Take it out on Cartier…” THIS is Daisy?! Davie nonetheless delivers consternation with engaging skill.

Mark William, Hilary Cole

1967’s Mike, music and lyrics by Johnny Mercer, was about Mike Hammer. Mark William – on vocal and trumpet – performs “I Want to Be in Love Again” “…but only if the love again is you…” The young singer has an excellent voice, but is over mannered taking naturalism from the quotient. When syndication exploded in 2000, the television show’s creators Hope and Laurence Juber mounted Gilligan’s Island: the Musical. Hilary Cole’s Maryann performs “Things I Should Have Said” with ingénue characterization and pop inflection.

Joe Iconis, Kelly McIntyre

Prolific, iconoclastic Joe Iconis (also at the piano) brings a song from his Love in Hate Nation “about the romance of two girls in a 1962 juvie hall.” His musical had the misfortune to be ready late winter 2019 when the pandemic hit. “I’m hoping the show eventually crawls, kicks, and sucker punches its way to this neighborhood.” “The Three Failed Escape Attempts of Sheila Nail” is performed by original lead Kelly McIntyre (with back-up from a parroting audience) who dresses for the role. The actress inhabits Sheila, her expressive vocal and Janis Joplin-like delivery tough and powerful.

Bryan George Rowell and Kelly Lester

Shirley MacClaine, Cher, or again, Julie Andrews were considered for Mrs. Robinson in Bob Merrill’s 1987 iteration of The Graduate (after the film). When the Nederlanders called in a “youth consultant” the piece fell apart. We watch the hotel seduction scene. “Every Boy Deserves to Be Loved By An Older Woman” is performed by Kelly Lester and Bryan George Rowell in both song and dialogue. Lester is provocative and wily epitomizing the familiar character and has an attractive voice. Rowell alas acts like he’s 14 instead of a deer in headlights.

LaDonna Burns and Major Attaway

Gospel oriented Daddy Goodness by Ken Hirsch and Ron Miller sank with poor out of town reviews. Its story was that of a derelict who’s accidentally involved in what’s perceived as a miracle and sets himself up as the head of a new religion. “Hungry,” a duet between a sex worker and her absent lover, is performed by LaDonna Burns and Major Attaway with palpable soul.

Michael Lavine

At the piano, MD Michael Lavine sings “Fun” out of the 1991 Goodspeed production of Michael Skloff/David Krane/Marta Kaufman’s Arthur (from the film). The musical died when it was decided after the fact that alcoholism wasn’t funny. Its writers moved to Los Angeles pitching a television show that became the mega hit Friends, so no pity there. The song is not good, but Lavine’s performance is bouncy and appealing, high notes cracking a little just as we imagine the inebriated hero would sound.

Stephen Schwartz

This deftly produced show ends too soon with Stephen Schwartz’ s rendition of “Chanson,” which opened the inexplicably ill-fated The Baker’s Wife. It’s a treat to hear the tender, romantic song by its creator: “…And since life is the cry of the gull/And the taste of your stew/And the way that you feel/When he touches you/Now your whole life is different/Now your whole life is new…” Sigh.

A splendid evening.

Opening: Robert W. Schneider and Charles Kirsch

Broadway Bound: The Musicals That Never Come to Broadway – Part III
Hosted by Robert W. Schneider and Charles Kirsch
MD/piano: Michael Lavine

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