Stage elf
  • FRONT OF HOUSE
  • Stage Directions
    • Finding a Show
    • Choosing a Show
    • Getting a Ticket
    • Choosing a Seat
    • Getting a Discount
    • The Theaters >
      • Broadway
      • Off Broadway
      • Washington, DC
    • Theater Tips
  • Stage Presence: A Blog
  • Stage Door Tips & Tales
    • Stage Door Tales: A Blog
    • Stage Door Stars!
    • Stage Door Tips/Etiquette
    • Stage Door Locations >
      • Stage Doors on Broadway
      • Stage Doors Off Broadway
      • Stage Doors in Washington, DC
  • StageSprites [taking the kids!]
  • UpStage...Theater News Feeds
  • Curtain Call
    • About Me
    • Contact Me

Stage Presence...

Random & occasional musings on theatre-related topics...   

Who's on First? 

10/19/2012

7 Comments

 
Picture
Daniel Radcliffe in "How to Succeed in Business Without Really Trying"!  Al Pacino in "Merchant in Venice"!  Ricky Martin in Evita!  Bernadette Peters in Follies!  Angela Lansbury in...well, anything! 

Well-known, well-loved actors in lead roles that drive audiences to the shows.  Or, if you're a theatre geek like me, just a much-admired lesser-known actor whose place in the cast sent me racing to the "buy tickets" button.  So you buy the ticket and wait with bated breath...and then you get to the theatre and the "at this performance" sign announces a role being played by an actor other than the one you came to see.  Or, if you make it through the lobby blissfully ignorant, a little slip of paper flutters to the floor at your feet when you open your Playbill..."at this performance."  But even if there's no lobby sign or Playbill insert, there's still the looming possibility that you'll hear the disembodied voice just before the house lights go down..."at this performance"...  You can sometimes hear the audible sigh of relief from the audience when no substitutions are announced.

Despite what I'm about to write, I in no way want to suggest that actors that are not originally cast in lead roles, or as sole lead in a role, are any less likely to give a magnificent performance on a night they perform.  It has to be true that, just as there are shows that will appeal differently to different people, there are individual performances that will do the same.  The fact that one actor is given the part can't mean that one or more other actors wouldn't have been equally satisfying (and maybe more!) in the part.  Casting is an art form, and there are many more talented actors than there are parts in shows to be had.

All of that being said, there are still reasons I might want to see a particular actor play a role in a show...not necessarily a lead role, by the way; sometimes I want to see an actor in an ensemble cast, or in a supporting role.  I am over-the-moon to see Ron Rifkin in "The Twenty-Seventh Man" later this winter at The Public Theater.   I have loved Ron Rifkin since "One Day at a Time," and the appeal was cemented during the run of "Brothers & Sisters," on which he played Saul, the closeted (until very late in life) brother of Sally Field's matriarch character.  I will certainly be disappointed if something prevents his presence in the cast on the day I see the play.  But I also feel confident that, if that happened, whoever does play the role will be impressive.

This all came up because I attended a performance of "One Night With Janis Joplin" at Arena Stage a couple of weeks ago, intrigued to see the performance of the actress who had received the primary billing and most of the press, Mary Bridget Davies (this is an article about her from the Cleveland run of the show).  She was already known for playing Janis in a previous show, "Love, Janis," and was highlighted on the Arena Stage website for her ability to inhabit Joplin.  When the show began, I thought the actress didn't look like Davies (I'd just seen her interviewed on TV the day before), but as there'd been no announcement, or insert in the program indicating it wasn't her, I thought I must be wrong.  I thought the show was great; and the lead performance clearly got the crowd involved and admirably recreated the persona I remember of Janis Joplin.  It was not until the next day as I was reviewing the program more closely and saw the photos of the actors, that I realized I'd seen the "alternate" for the role, Alison Cusano.  

So I'm torn; I thought Alison did a terrific job, but the marketing of the show had really gotten me excited about seeing Mary Bridget Davies.  I had missed the "fine print" on the website that the role was being shared by the two women.  I read a  comment that said, incorrectly, that we had gotten the "third string" ("not even the understudy").  The truth is that Mary and Alison were sharing the role; an "alternate" is just that, a performer who alternates the role in certain performances, particularly if the role is demanding on the voice.  You'll see this in "Evita," for example; Elena Roger alternates the role of Eva with Christina DeCicco.   And frankly, I was not particularly impressed with Elena Roger (who gets the lead billing), and would be interested to see Christina in the role (but probably can't really afford to see it a second time).  If you're interested, here's one example of definitions for the terms "alternate," "swing" and "understudy."

It got me thinking that if the show thinks two actors are both right for the role and the role calls for an alternate, balance the billing!  Give both actors the credit.  I was mystified by the lack of announcement the night of the performance as to which actor was performing that night.  That said, I suppose it makes sense for a show such as "One Night...," that seeks to recreate a concert experience; you might not want to take the audience out of that moment right away by highlighting that it's not really Janis Joplin.  

I spoke with an Arena staffer the next day about it, because I wondered about the marketing choices that created an expectation that the reason to see the show was Mary Bridget Davies' performance; and lack of announcement that night.  I just thought that Alison probably deserved some more prominent billing as well.  

By the way, it is generally thought (and often plays out that way) that if an actor whose name appears above the show title in the marketing does not appear, you may be entitled to a refund of your ticket price (but I would suggest addressing the situation before you sit through the show); the assumption being that you bought the ticket at least in part to see that actor.  There are ways to determine if an actor has a planned vacation from a show (following them on Twitter is often helpful :)) prior to buying a ticket.  Telecharge will post that information, if they know it, on the ticket  website.  

In the case of "One Night...," Mary Bridget Davies was definitely not billed above the show title.  But the emphasis on the website had been about her.  I did not expect a refund; I really was just curious as to the lack of attention being paid to the other performer.  Thanks to Arena, I will be seeing the show with Davies a bit later this month, am fascinated to see how I feel about the two performances.

Actors also sometimes have to "call out" at intermission if they find they can't complete a performance.  This happened at a performance of "Ghost The Musical," when Da'Vine Joy Randolph (Oda Mae) was clearly sick during the first act and her understudy took over for the second act.  It was interesting to see the contrast, and the show did not suffer for it; although I preferred Da'Vine Joy in the role :).

Lessons I've learned: the actor does not have to be a major star to be the reason you really want to a show; read the fine print on the website before you buy tickets to find out if there are scheduled performances with an alternate performer;  don't assume you'll be disappointed if you see the alternate/understudy; they may blow you away!

P.S.. This evening I will be seeing "Glengarry Glen Ross" with Al Pacino in the starring role (and his name appears above the title); but he's not the reason I'm seeing the show!  It's the rest of the cast, particularly Richard Schiff ("West Wing")  , Jeremy Shamos ("Clybourne Park"), John McGinley (many appearances in movies/TV).  I saw Al Pacino in "Merchant of Venice" and he was amazing; but so was the rest of the cast and production...ironically, the person in the cast I was particularly interested in seeing was an actor I'd loved from television, and sure enough, he was the one that was not in the show that night...oh well, it happens.

UPDATE:  So, everyone was in the cast at "Glengarry," And everyone was in the cast for "The Heiress," including Dan Stevens, Judith Ivey & David Strathairn, all of whom I really wanted to see.  But it didn't occur to me that this early in the run, at a Saturday night performance, that I wouldn't see Lilla Crawford in the role of "Annie," when I saw the show last evening.   She was the young actress cast after a very long audition process, and I was looking forward to seeing what magic she had that had bested all the other hopefuls.  Her understudy is Taylor Richardson, and truthfully, I can't imagine how I would want her performance to be any better than it was.  She was wonderful and charming and the very embodiment of this beloved character.  Will I see the show again to try and see Lilla to compare?  Maybe if the opportunity arises; but I really can't think of something I missed last night :).


7 Comments
Lori
10/19/2012 09:28:41 am

First, I didn't enjoy Elena Rogers in "Evita." But I have heard fantastic things about Christina DeCicco. Second, there have been many famous actors who I bought tickets to see. Fortunately, I got to see all of them (Yul Brenner, Richard Harris, Joel Grey, Cathy Rigby, Michael Crawford and a few others) in their signature roles. I have no idea how I would have handled it if I arrived at the theater and found out the understudy was on. Although I'm sure the understudies would have been very talented, I think it might have killed me to see someone else in that role. But those are very big names (really, icons) and I am older, wiser and more mature now. I have had many great experiences seeing understudies. In some cases, I have enjoyed the understudies performance more (more on my 17 times seeing Les Mis later). Andrew just had his first experience with this. On one of his 10 visits, Nick was out sick with a back injury. We had lottery seats and I was frightened for Corey who taking Nick's place. How would Andrew handle it? Would he be upset? Would he be bitterly disappointed and sulking? Happy to report that his only complaint was that Corey didn't play guitar during WBT. Seeing Corey was a GREAT experience. He was different than Nick but he was wonderful and awesome to Andrew. When we met him at the stage door, Andrew said "at first, I was sad that Nick isn't here today but I really liked your performance and the way you sing. And thanks for sprinkling confetti in my hair!" All's well that ends well!

Reply
T Moran
10/28/2012 05:31:46 pm

Frankly, I am upset that it was not incredibly clear that Davies (who gets all the press for resurrecting Janis) would not sing on Sunday. I would have picked tickets for another evening. Period.
Secondly, we went to the show tonight 10/28 and Alison's aunt and 2 girlfriends sat behind us screaming their heads off - whooping it up, high pitched whistles. It got a bit over the edge. I know I sound like an old crank but jesus settle down.

Reply
Ellen
10/29/2012 04:02:47 am

My reaction was just like yours after I went on a Sunday night, and that's what prompted my call to Arena Stage the next day. I've since had a couple of different conversations with them about the marketing of the show, and I think they learned a valuable lesson, but I've learned a lesson too...read the fine print and don't hesitate to give feedback! Oh, and I know what you mean about the over-reacting...a similar thing happened to me at the (very expensive) Woody Guthrie concert at the Kennedy Center recently and it was so incredibly disruptive to the experience of everyone in the vicinity of the offending audience member, who talked to the performers loudly and sang along, among other things. Thanks for the comment!

Reply
Tmoran
10/29/2012 05:37:40 am

Whew - thought I was being weird. After spending over $200 and $30 in cocktails I really like to get what was "sold" in the reviews. The only reason why I went was due to the review and ms. Davies ability to nail Janis. Alison was good - but did not nail it.
I still don't get folks who show up and act like its ok to scream, whistle, sing along. I didn't lay to listen to them

Reply
Bonnie
11/1/2012 09:26:47 am

I hate to break it to you, but this is a ROCK show. The hooting and hollering is going to happen no matter when you see this show. If you want a quiet theatre experience, go see something else. I happen to know for a fact, that that audience on Sunday night was one of the best audiences the show has had.

Reply
Ellen
11/1/2012 12:29:06 pm

Hi Bonnie,
You're absolutely right that this show was intended to replicate a rock performance; and the two times I saw it did include perfectly enjoyable and appropriate "hooting and hollering" from great audiences :) (in fact, I was right there whooping it up too :)!). I understood T to be saying that there is a point where it can become over-the-top. If I can't hear the performer singing or talking over the audience reaction, it can be really frustrating. It's about balance I think :). Thanks for adding to the discussion!

T moran
11/1/2012 02:01:00 pm

I love "hate to break it to you" ...first, it ain't a rock show. If anything it's a tribute play. I have no problem with whooping it up and hollering yet ear splitting whistling all the time or screaming at the top of your lungs? As we left our three out of orbit screamers wanted to to make sure that everyone knew that Alison was her neice. So who really cares but her? But for her it was important to let everyone know in earshot for 10 minutes. I can make up all sorts of stories about her but it's a waste of time. The net is the audience was into it but these three were standing out volume and frequency.
Again, this is not a rock concert. We've concerts rock concerts - many of them -
My experience is that many people have no clue how to behave in public. Somehow the parental instruction was lacking. Even tonight we went into a rather nice restaurant and the man next to us is wearing an orange knit hat and decides at the end of dinner to perform a bongo routine on the table. Didn't his parents tell him men take off theirs hats in restaurants? Look if you have a scar after surgery I get it yet bongo routine . Could we save this for later.
Or I go to a movie and I have to intervene between two people yelling at each other over cell phone use. WTF has happened here?

Reply



Leave a Reply.

    Stage Directions
    Stage Door Tips & Tales
    Curtain Call
    Picture

    Archives

    June 2017
    May 2017
    March 2017
    February 2016
    December 2015
    June 2015
    May 2015
    June 2014
    April 2014
    February 2014
    December 2013
    November 2013
    October 2013
    August 2013
    July 2013
    June 2013
    May 2013
    April 2013
    March 2013
    February 2013
    January 2013
    December 2012
    November 2012
    October 2012
    September 2012
    August 2012
    July 2012
    March 2012
    February 2012
    January 2012
    December 2011

    Categories

    All
    Alan Burkitt
    Andrew Keenan-bolger
    Benj Pasek
    Broadway Cares
    Broadway Easter Bonnet Competition
    Celia Keenan Bolger
    Celia Keenan-bolger
    Charlotte Gooch
    Cherry Jones
    Christopher Plummer
    Colm Toibin
    Condola Rashad
    Craig Wallace
    Cyndi Lauper
    Deborah Warner
    Dublin
    Fifth Of July
    Fiona Shaw
    Green Chimneys
    Harvey Fierstein
    Holly Twyford
    Joe Iconis
    July Fourth
    Justin Paul
    Kimberly Gilbert
    Lauren Bacall
    Lgbt
    Maggie Keenan Bolger
    Maggie Keenan-bolger
    Matthew Gardener
    Michael Kahn
    Mitchell Hebert
    New Musicals
    New Theater
    Off Broadway
    Orlando Bloom
    Playbill
    Playlist
    Rachel Sullivan
    Richard Rodgers Theatre
    Richard Thomas
    Romeo And Juliet
    Schmackary's
    Shakespeare Theatre Company
    Signature Theatre
    Smash
    Social Media Marketing
    Stage Door
    Swoosie Kurtz
    Testament Of Mary
    Theatre Weekends
    The Black Suits
    The Laramie Project
    Tom Hanks
    Tonya Pinkins
    Tony Awards 2013
    Top Hat
    Tweet Seats
    Woolly Mammoth Theatre Co.
    Zachary Quinto

    RSS Feed

Copyright 2012, 2013, 2014, 2015, 2016, 2017. Unless otherwise indicated, all materials on these pages, including photographs, other than those clearly attributed to others or found on third-party websites linked to herein, are copyrighted by the the author and owner of this site.  No part of these pages, either text or image may be used for any purpose other than personal use. Therefore, reproduction, modification, storage in a retrieval system or retransmission, in any form or by any means, electronic, mechanical or otherwise, for reasons other than personal use, is strictly prohibited without prior written permission.
  • FRONT OF HOUSE
  • Stage Directions
    • Finding a Show
    • Choosing a Show
    • Getting a Ticket
    • Choosing a Seat
    • Getting a Discount
    • The Theaters >
      • Broadway
      • Off Broadway
      • Washington, DC
    • Theater Tips
  • Stage Presence: A Blog
  • Stage Door Tips & Tales
    • Stage Door Tales: A Blog
    • Stage Door Stars!
    • Stage Door Tips/Etiquette
    • Stage Door Locations >
      • Stage Doors on Broadway
      • Stage Doors Off Broadway
      • Stage Doors in Washington, DC
  • StageSprites [taking the kids!]
  • UpStage...Theater News Feeds
  • Curtain Call
    • About Me
    • Contact Me