One of the great pleasures of a long holiday period, with one’s office is closed for an extended time, is the freedom to go exploring, be it in life or online, guilt-free (or at least relatively so). That’s exactly what happened when I spotted a single tweet from the New York Post’s film critic, Lou Lumenick, who I’ve found to be a terrific and entertaining source of film knowledge and trivia. Lumenick’s timing, of course, is particularly apt, as the tweet led to a complete online video of Meryl Streep as Alice (of Lewis Carroll’s invention), just as Streep is onscreen right now in another updating and revision of children’s tales, Into The Woods.

https://www.youtube.com/watch?v=90Y15Crljk4

This particular Alice in Wonderland adaptation, written by Elizabeth Swados and produced by Joseph Papp and the New York Shakespeare Festival, was far from unknown to me (though I’d not seen it onstage), but I had long forgotten that it had been recorded for television. Now this isn’t some obscurity from Streep’s pre-stardom days, but rather part of her initial rush of fame, following (among others) Manhattan, The French Lieutenant’s Woman, The Deer Hunter and Kramer vs. Kramer. But in addition to preserving one of Streep’s early stage performances, it saved those of a number of up-and-coming actors, including Deborah Rush (sexy and hilarious the following year in Noises Off), Mark Linn-Baker (who I had first seen in his student days at Yale), Debbie Allen (already seen in the films Fame and Ragtime) and the great, lost-too-soon Michael Jeter. How wonderful that the whole program is online (legally, I hope).

For once, the column of suggested videos that came up alongside the main screen on YouTube was actually a great predictor, because it tipped me that another Alice in Wonderland which had originated on stage was also online. Though it had lasted only weeks on Broadway in 1982-83, a revival of Eva Le Gallienne and Florida Friebus’s 1932 Alice version made it to TV as well, starring its original stage Alice, the then little-known Kate Burton, in the title role. While one can look back at the stage cast and be impressed – it included Edward Hibbert, Nicholas Martin, a young Mary Stuart Masterson and Le Gallienne herself – the TV cast was even more remarkable. Eve Arden, Kaye Ballard, James Coco, Andre de Shields, Colleen Dewhurst, Andre Gregory, Geoffrey Holder, Nathan Lane, Donald O’Connor, Maureen Stapleton and, most significantly and poignantly, Richard Burton, were all in the PBS version.

As it turns out, there was something in the air in the early 80s when it came to Alice in Wonderland, because yet another adaptation, this one wholly original to TV, turned up in 1985, melding stage and screen stars in a production that may have been made for TV, but still felt very theatrical. The cast included Red Buttons, Sid Caesar, Carol Channing, Imogene Coca, Sammy Davis Jr., Sherman Hemsley, Roddy McDowell, Robert Morley, Anthony Newley, Donald O’Connor (again, albeit in a different role) and Martha Raye; Scott Baio, Telly Savalas, Ringo Starr and Ringo Starr were also along for the ride. The musical staging was by Gillian Lynne (perhaps best known for her choreography of Cats), with songs by Steve Allen; the script was by playwright Paul Zindel and, curiouser and curiouser, it was produced by the master of disaster Irwin Allen.

https://www.youtube.com/watch?v=lhXNgdlpegA

https://www.youtube.com/watch?v=cufnyyEXX9g

Once my explorations had begun, I couldn’t stop. I was quickly led to a 1972 film version of which I was unaware, from England, which had yet another heavyweight roster of stars, with that special British cachet and, yet again, significant stage credits, as well serious comedy chops. Among those appearing in Alice’s Adventures in Wonderland were Michael Crawford, Michael Hordern, Roy Kinnear, Spike Milligan, Dudley Moore, and Peter Sellers. The production looks, once again, rather stagey and the transfer to video is decidedly shaky; though the IMDB notes it as a film, I can’t help but think that it might have had TV roots in the UK, given the look of the production.

https://www.youtube.com/watch?v=aT6BLVBta9Q

Rather more recent was the 1999 Alice in Wonderland, produced by Robert Halmi Sr. and Jr., part of a series of big fantasy TV movies they were creating at that time. While I recall not being too fond of it, having found all of the Halmi projects overblown, it has another noteworthy, largely British cast, and a screenplay by the great and too-often overlooked playwright Peter Barnes. In this fantasy mix were, among others, Simon Russell Beale, Robbie Coltrane, Whoopi Goldberg, Ben Kingsley, Christopher Lloyd, Miranda Richardson, Martin Short, Peter Ustinov, and Gene Wilder.

https://www.youtube.com/watch?v=UKVlqQnkzok

There are, frankly, countless adaptations of Alice in Wonderland, for the stage, for film and for television, both live action and animated, and sometimes a mix of both; this foray is hardly comprehensive. But as one more demonstration of how Lewis Carroll’s tale proved to be (Cheshire) catnip for television, here’s an example from the very early days of the medium – even though in 1954 it comes from the seventh annual presentation of this particular version. With a cast including Edgar Bergen and Charlie McCarthy, Art Carney, and Arthur Treacher, it’s very primitive, and I can’t help but wonder who appeared in the earlier versions, since technology allowing for “repeats” had yet to come into vogue.

For all that I found in my admittedly cursory search, there’s one more TV Alice in Wonderland that YouTube didn’t serve up to me – a 1955 Hallmark Hall of Fame version of the LeGallienne and Friebus script for NBC, with Le Gallienne, Tom Bosley, Maurice Evans and Elsa Lanchester, among others. If you happen to find it, do let me know. In the meantime, I trust the various incarnations above will be more than enough for a satisfying journey, like mine, down the rabbit hole. Happy new year to all!

Nineteen sixty-two was too late for vaudeville, and surely the Roman comedies of Plautus were known only by Latin academics. But with the debut of A Funny Thing Happened on the Way to the Forum, these two great comedy epochs were inextricably linked right from the first notes of “Comedy Tonight,” one of the great opening numbers of any musical.

Instead of introducing us to the characters or putting the plot in motion, it seeks only to tell the audience what kind of show they’re about to see. The song is a litany of quick, descriptive rhymes (erratic/dramatic, convulsive/repulsive, surprises/disguises) that set only mood, a lightning bolt of perfection instigated by choreographer and show doctor Jerome Robbins after two prior songs had been discarded out of town.

It’s ironic that Forum delivered such a show-stopping standard in the first five minutes, since it has been confirmed by composer-lyricist Stephen Sondheim that his show’s songs were meant to give audiences a respite from laughing, as had songs in the theatre of Plautus. While Sondheim is repeatedly critical of Forum’s score in his book of annotated lyrics, Finishing the Hat, it has considerable charm, most notably “Everybody Ought to Have a Maid,” a paean to feminine domestic help, replete with built-in encores.

When first I saw the film version directed by Richard Lester, I got a taste of what the whole show might be. But I’ll admit to some disappointment, generated perhaps because I was watching alone, perhaps because film is the enemy of spontaneity, perhaps because the fully realistic design was fighting the complete artificiality that is farce. It did, however, blend Broadway originals Zero Mostel and Jack Gilford with Michaels Hordern and Crawford.

It was only when I was at university, and cast in the supporting role of henpecked, randy husband Senex in a dramatic society production, that I came to know Forum fully – and to realise that bookwriters Burt Shevelove and Larry Gelbart were the true masterminds, even though by then I had completely fallen for Sondheim via Sweeney Todd.

Forum’s criss-crossing plots – the slave Pseudolus’s desire to be a free man, the Roman boy Hero’s search for love, the virgin Philia’s resignation to a life bound to a man by contract, Hysterium’s impotent efforts to keep order, Erronius’s search for his lost children – built one upon the other. This carefully wrought framework made room for leggy chorus girls, repeatedly mistaken identities, well-honed schtick and some wonderfully low puns. Whatever the merits of that college production, the show’s brilliant construction ensured that we were met by gales of laughter each night.

Convulsed audiences seem almost guaranteed in Forum – theatre history bears out its Broadway success originally with Mostel and a decade later in revival with Phil Silvers, then two decades after that with Nathan Lane, followed by Whoopi Goldberg. Frankie Howerd launched the show in London in 1963 and now another British comic favourite, James Corden is rumoured for the forthcoming Broadway revival. The talk of Corden seems both genius and a no-brainer, since One Man, Two Guvnors‘ Francis Henshall is a direct spiritual descendent of Pseudolus in his appetites, his self-made muddles and his manipulative ingenuity under pressure.

There is perhaps something perverse in championing Forum, since it flouts so much of what we’re told a musical should do. The songs say little about the characters, and don’t advance the story. It requires choreography, but demands little true dancing. In its emphasis on plotting, it does away with music altogether in the latter half of the second act (as does another favourite, plot-heavy musical, 1776). But Forum, a couple of millennia after Plautus and more than a half-century since its debut, is a marvel of gleefully saucy yet wholly innocent vintage and modern farce that wants nothing more than to leave you spent from laughter, humming a catchy tune. What’s not to love about that?

as originally seen in The Guardian

Note: I fear the headline that ran with this piece was misleading, since the column focused more on how companies not known for traditional musical theatre were making it a part of their producing mix. That said, if the resources expended on opera were allocated to new musicals then, well, wouldn’t it be loverly?

Bryn Terfel and Emma Thompson in Sweeney Todd. Nathan Lane reprising his career-making role in Guys and Dolls. Film actor Billy Zane and musical veteran Jenn Gambatese in The Sound of Music. Three intriguing stage productions with one common thread: none was produced by a theatre company.

Respectively, they were mounted by the New York Philharmonic, Carnegie Hall and Chicago Lyric Opera. They drew upon Broadway artists, but none were on Broadway.

It seems that when non-theatre companies want a sure thing they turn to musicals. While theatre companies, subsidized and commercial alike, seek to sustain audiences amid an array of entertainment options and ever-escalating price barriers, musicals are offered as budget balancers by symphonies and opera companies, with ever greater frequency. That’s on top of theatre companies which were once devoted solely to dramatic works having made an annual musical de rigeur. And when it comes to the big halls, it’s big names, both for titles and performers.

These events owe a great deal to the Encores! series at City Center, which has proven the significant audience for limited run versions of great musicals, some rarely seen. But they also attest to the broad appeal of musicals when companies step outside their own repertoire.

Thirty years ago, it was considered startling when the late New York City Opera embraced Sweeney Todd. Theatre only seems to attempt opera perhaps once every decade or so, notably with Baz Luhrman’s La Bohème and Peter Brook’s La Tragédie de Carmen. It seems that when it comes to producing across disciplines, for theatres it’s primarily a one-way street.

With the English National Opera’s announcement of plans to produce commercial musicals, it’s not quite the “unique” venture cited in their announcement. In their efforts to “embrace the new climate where audiences seem to enjoy the blurring of boundaries between opera, theatre and musicals,” one cannot help but wonder how the balance will play out if a West End berth, as stated, is a goal for these projects. Several years ago, the Metropolitan Opera announced a joint venture with its neighbor Lincoln Center Theater to develop works along such lines, but it has yielded little.

Given the budgets for major operas, or the musical richness of a full symphony, it’s easy to see why musical theatre artists would be eager to work outside their usual sphere. But so long as musicals are viewed as cash cows, economic pressure will dictate reliance on the tried and true, with the same repertoire being repeatedly mined by ever more groups. What musical theatre really needs is more resources and new models for sustaining new works beyond the hit or flop reality of Broadway and the West End. If only the symphonies and opera companies could help out there.