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Contents • • • • • • • • • • • • • Background [ ] Laurents originally conceived the production as a small with music by, lyrics by, and in the lead role of spinster Leona Samish. By the time the project began to jell, however, Hammerstein had died, and was asked by Laurents and, Richard Rodgers' daughter, to write the lyrics. Even so, Rodgers felt that the original play did not lend itself to musicalization; Sondheim agreed. According to Peter Filichia, 'Sondheim didn’t want to do the musical in the first place, but given that Laurents sought him – and had recommended him for 'West Side Story' when he was a novice — he accepted. Also a factor was that his now-deceased mentor Oscar Hammerstein had recommended that he succeed him as Rodgers’ lyricist.'
Rodgers, who was producing the production, rejected Martin as too old for Leona. Utiliser Crack Sims 3. Was the first choice for director, and he met with Laurents, Sondheim, and Rodgers, who fell asleep during their discussion.
Laurents suspected Rodgers had been drinking, and when he discovered a bottle of secreted in the toilet tank during a later visit to the Rodgers apartment, he realized he had been correct. The composer's chronic drinking proved to be a major problem throughout the rehearsal period and pre-Broadway run at the in and the in. Laurents suggested that direct the show, but later regretted the choice. Dexter insisted on giving the lead role of Leona to, who Laurents felt could manage the acting and singing but had a cold personality too contrary to that of the character.
Rodgers' mistreatment of Sondheim left the lyricist feeling apathetic if not outright sour about the project, but he maintained his professionalism. The first run-through was disastrous, and Dexter immediately lost interest, leaving most of the work to his assistant-cum-choreographer. Was called in to work on the dance routines and brought with him his wife, who served as a mediator among the warring factions. She was faced with an arduous task, given Rodgers' open dismissal of Sondheim's lyrics as 'shit,' as well as his eventual ban of Laurents from rehearsals completely. Productions [ ] The musical opened on Broadway on March 18, 1965 at the and closed on September 25, 1965 after 220 performances.
It starred and; other principal cast members included,, Julienne Marie,, Fleury D'Antonakis, and. Choreography was by, with scenery and costumes by Beni Montresor and lighting. Laurents rued the casting - he felt Allen was too young and colorless and Franchi couldn't act - and ignored all the ongoing problems in favor of making his dream a reality, but most of all he regretted the break in his friendship with Sondheim after the show. The musical received three nominations for the: Elizabeth Allen was nominated for the; nominated for; and nominated for, but lost in all three categories. In May–June 1966, the play was performed at the in New Jersey, with a cast that included as Leona Samish and as Renato Di Rossi, as well as Dorothy Stinette,, and Gay Edmond. In 1997, Sondheim was sent a recording of a concert version of the show that had been presented in London.
It was then he realized the original play did lend itself to musical adaptation, but the score Rodgers composed wasn't very good. He enthusiastically contacted Laurents and the two discussed changes that could be made to improve the show. A revised production was staged at the,, New Jersey from October 13, 1999 through November 14, 1999.
For that production, the dropped song 'Everybody Loves Leona' was restored, lyrics were altered or added, and Laurents 'revamped quite a bit of the book.' A 2001 revival of the musical was staged at the, Pasadena, California, where it ran from July 15 through August 19. The cast included as Leona, as Renato, and as Fioria. The production was well received by the critics, and a cast recording was subsequently released on the Fynsworth Alley label.
In 2003, the in London staged the musical and in March 2014, Charles Court Opera further revived the show at in. The musical was presented by at in May 2016. It was directed by Evan Cabnet and starred (Leona),, Sarah Stiles and (Renato De Rossi). Synopsis [ ] New York City secretary Leona Samish arrives in ('Someone Woke Up'), where she is staying at the Pensione Fioria, where she is greeted by owner Fioria ('This Week Americans'). There she meets Americans Eddie and Jennifer Yeager, who are living in and have come to Venice for a vacation, and the McIlhennys, an older couple on a package tour ('What Do We Do? While shopping, Leona sees a ruby glass goblet in a store window and goes inside to inspect it.
The owner, Renato di Rossi, tells her it is an authentic 18th-century piece, not a reproduction. He offers not only to find her a matching glass to make up a pair, but to show her the sights of the city, as well. Leona refuses his offer and leaves, but returns the next day to buy the goblet. Later that day, a package with a second goblet is delivered to the hotel.
Soon after, Renato arrives to invite Leona to join him for coffee in that evening. When the McIlhennys show her their purchase of a set of glasses exactly like hers, Leona believes Renato misrepresented their value, but Signora Fioria assures her they are. Later in the day, Renato's son Vito comes to tell Leona that Renato will be late for their meeting because one of his children is ill and needs to see a doctor. Realizing Renato is married, she cancels their rendezvous. He comes to the pensione and explains he and his wife have not loved each other for years but divorce is not an option, not only because the country doesn't permit it, but because they have their children to consider as well. To Leona, his casual attitude about extramarital affairs is wrong, but she still finds herself attracted to him, and agrees to keep their date.
Meanwhile, the Yeagers are facing problems of their own. Eddie, finding himself enamoured with Signora Fioria, announces he wants to put distance between himself and the woman by returning to the United States.
Renato arrives with a necklace for Leona, who is thrilled with his gift and agrees to extend her stay in Venice. She hosts a party in the garden of the pensione, and as the party is in progress, Renato's son Vito comes to tell his father that the jeweler wants his money; overhearing this, Leona happily gives him the money. However, when she discovers Renato has received a commission on the sale of the necklace, she accuses him of being interested only in her money, and he leaves. Fioria and Jennifer attempt to comfort Leona, who drunkenly reveals Eddie and Fioria spent the previous evening together, only to immediately regret her words ('Everyone Loves Leona'). The following day both the Yeagers and the McIlhennys check out of the pensione as Fioria is happy that everyone is leaving and making way for the next group of guests ('Last Week Americans'). On hearing Renato had been there before she awoke, Leona goes to his store to make amends, but he tells her a relationship with her would be impossible because of her complicated outlook on life. His affection for her is gone, and they part as friends ('Thank You So Much').
Original Broadway cast [ ] • – Leona Samish • – Renato Di Rossi • – Signora Fioria • – Eddie Yaeger • – Jennifer Yaeger • Jack Manning – Mr. McIlhenny • – Mrs. McIlhenny • Fleury D'Antonakis – Giovanna • – Vito • Christopher Votos – Mauro Paper Mill Playhouse cast (1966) [ ] • - Leona Samish • - Renato Di Rossi • Dorothy Stinette - Signoria Fioria • - Eddie Yaeger • Gay Edmond - Jennifer Yaeger • Avril Gentles - Mrs. McIlhenny • William Martel - Mr. McIlhenny • Fleury D'Antonakis - Gionanna • Andrew Amic-Angelo - Vito • Jomar Cidoni - Mauro • Hank Selvitelle - Alfredo • Jacque Dean - Mrs.
Victoria Haslem • Nick Athos - Man on Bridge Song list [ ]. Act I • Overture • 'Someone Woke Up' – Leona Samish • 'This Week Americans' – Signora Fioria • 'What Do We Do? – Leona Samish, Mrs.
McIlhenny, Mr. McIlhenny, Eddie Yaeger and Jennifer Yaeger • 'Someone Like You' – Renato Di Rossi • 'Bargaining' – Renato Di Rossi • 'Here We Are Again' – Leona Samish, Vito and Ragazzi • 'Thinking' – Renato Di Rossi and Leona Samish • 'No Understand' – Signora Fioria, Eddie Yaeger and Giovanna • 'Take the Moment' – Renato Di Rossi Act II • 'Moon in My Window' – Jennifer Yaeger, Signora Fioria and Leona Samish • 'We're Gonna Be All Right' (revised version) – Eddie Yaeger and Jennifer Yaeger • 'Do I Hear a Waltz?' – Leona Samish and Company • 'Stay' – Renato Di Rossi • 'Perfectly Lovely Couple' – Leona Samish, Renato Di Rossi, Mr. McIlhenny, Mrs. McIlhenny, Jennifer Yaeger, Eddie Yaeger, Giovanna and Signora Fiora • 'Thank You So Much' – Renato Di Rossi and Leona Samish • Finale Cut songs • 'Two by Two' - Leona, Vito, girl, Eddie, Jennifer, Fioria, male companion, Mr. McIlhenny, Mrs.
McIlhenny • 'We're Gonna Be All Right' (original version) – Eddie Yaeger and Jennifer Yaeger • 'Everybody Loves Leona' - Leona (restored in the George Street Playhouse production) • 'Perhaps' • 'Philadelphia' Critical response [ ] The original production received mixed reviews. Of the observed, 'The authors... Have accomplished their conversion from the play with tact and grace.
They have not attempted a complete transformation. On the other hand, they have not cheapened or falsified the play... They were wise not to overload the musical with production numbers; their taste was unexceptionable when they chose not to turn their work into a brash, noisy affair, which would have been out of keeping with their theme. At the same time one cannot suppress a regret that they failed to be bolder. For there are times, particularly in the early stages, when the songs are merely a decoration. They give the impression that they are there because a musical requires music. They do not translate the story into the fresh and marvelous language that the rich resources of the musical stage make possible.'
William Ruhlmann wrote: 'Despite the pedigrees of the creators, the show opened to negative reviews, which is explained only partly by the score as heard on this cast recording. Elizabeth Allen, in the lead role, was criticized with backhanded compliments for being too young and attractive for the part, flaws not apparent on the album. Sergio Franchi, as her romantic partner, also came in for criticism, but comes off much better here. And the small supporting cast, featuring Carol Bruce as the proprietor of a pension, is also impressive. But the songs, for the most part, are not memorable.'
The production did not recoup its investment, but several songs, including the title song, received radio play. RCA released a single (RCS 47-8552) of two of the songs recorded by ('Someone Like You' and 'Take The Moment'); and he sang them on several televised shows. Franchi generally received excellent reviews of his singing performance on this show, his Broadway debut. Post mortem [ ] With the passage of time Sondheim, the longest surviving member of the original creative team, has reflected on what went wrong with Do I Hear a Waltz?
To begin with, his reasons for collaborating with Rodgers were prompted out of obligations to others rather than a belief in the material. In his final meeting with Hammerstein, the dying lyricist recommended that Sondheim collaborate with Rodgers. Additionally, Mary Rodgers (the composer's daughter) was a good friend of Sondheim's and forcefully urged him to consider a collaboration. In getting to know Rodgers, Sondheim found a 'funny, dour, difficult fellow' who was plagued with self-doubt, thinking that his musical abilities were failing him.
This manifested itself in the composer's adamant unwillingness to consider rewriting anything. Sondheim considered 'What Do We Do? We Fly' and 'Bargaining' to be repetitive songs, victims of the lack of desire to rewrite, a type of song he named 'mechanicals.' Sondheim felt that Rodgers need not have been so self-doubting 'as songs like 'Take the Moment' and the show's title tune attest.' Eventually Rodgers' self-doubt grew into paranoia with his thinking that Sondheim and Arthur Laurents were plotting against him. Optimistic at a chance to do something unusual, Sondheim thought that Leona--the lonely and uptight American--should not sing until the end of the show. Rodgers refused to consider such an innovation, bringing Sondheim to recognize that in the Rodgers and Hammerstein collaboration, it was Hammerstein that was the pathbreaker, because Rodgers was an 'archconservative' whose innovations were restricted to superficial gimmicks (for example, no string instruments in No Strings).
Sondheim felt that Rodgers was not able to write a story in song so he ended up writing many of the lyrics first. Unlike his other partnerships in which composers responded with a collaborative give-and-take between lyrics and music, Sondheim felt that working with Rodgers was like 'a set of assignments, either from me to Rodgers or Rodgers to me.' One particular incident involved an infamous lyric change referring to a married couple in the song We're Gonna Be All Right.
Sondheim's lyrics for the song tended to lean toward a more cynical view of marriage and his suggestion that the husband and wife might find consolation by having separate affairs, even a homosexual one, was quite revolutionary for 1965. He recalls, 'I wrote lyrics which had some bite to them and Dick Rodgers thought the song was wonderful. Next day he called a lunch and kept slamming the lyrics against my forearm and saying, 'This will not do, this will not do,' and I kept asking, 'Why?' The truth was, he'd shown the lyrics to his wife and she did not like it. He probably showed it to her out of enthusiasm. But you know, it's got stuff about sexuality in it.' Ultimately Sondheim understood the failure of Do I Hear a Waltz?
In the context of Mary Rodgers formulation of what she called a 'Why? Such a musical is usually based on good source material but raises the question as to what the addition of music does to enhance the original. With rare exceptions (Sondheim cited as such an exception because its creators loved and respected the story), 'Why? Musicals' gain nothing from having music added, usually resulting in a dilution of the original material. Sondheim accepted responsibility for being naive in thinking that his participation in Do I Hear a Waltz?
Was a quick way to make money off of good source material—an effort that failed. Recordings [ ] The was released by in 1965, and was chosen by as an Original Cast Spotlight Album. A remastered version was released on compact disc and cassette tape by in 1992. A KeelanMusic review gives a very favorable review to the Original Cast recordings, irrespective of the Broadway criticisms. A recording of the Pasadena Playhouse production was released by in 2001. Musical excerpts (not included on the original cast recording) include the overture, Lezione in Inglese, We're Going to the Lido, Everybody Loves Leona.
Awards and nominations [ ] Original Broadway production [ ] Year Award Category Nominee Result 1965 and Nominated Nominated Beni Montresor Nominated References [ ]. • Laurents, Arthur, Original Story By (2000).
New York: Alfred A. 212 • Secrest, Meryle, Stephen Sondheim: A Life (1998). New York: Alfred A. 174-175 • Filichia, Peter. Masterworksbroadway.com, March 23, 2015 • Laurents, pp.
213-214 • Laurents, pp. 213-217 •, Sondheimguide.com, accessed July 18, 2012 • ibdb.com, accessed April 3, 2016 • Laurents, pp. 217-219 • Paper Mill Playbill, May/June 1966 • ovrtur.com, accessed January 12, 2016 • Laurents, p. 219 • Klein, Alvin. The New York Times, September 12, 1999 • sondheimguide, accessed July 1, 2009 • Hitchcock, Laura. Curtainup.com, July 15, 2001 • • Charles Court Opera (subscription required) • The Park Theatre, accessed 15 May 2016 • Clement, Olivia. Playbill, May 10, 2015 • newyorkcitytheatre.com, accessed April 3, 2016 • Viagas, Robert.
Playbill, April 4, 2016 • Viagas, Robert. Playbill, May 11, 2016 •, Sondheimguide.com, accessed July 18, 2012 • ^ Taubman, Howard. The New York Times, March 19, 1965 • Ruhlman, William.
Allmusic.com, accessed April 3, 2016 • ^ Stephen Sondheim, 'Do I Hear a Waltz?' Finishing the Hat (New York: Alfred A. Knopf, 2010), p. • Secrest, Meryle, Stephen Sondheim: A Life (1998).
New York: Alfred A. 176-178 • 'Spotlight Albums.' (April 17, 1965)., New York • Keelanmusic.com, retrieved 2/05/2014 • Do I Hear a Waltz?
Fynsworth Alley,, 2001. External links [ ] • at the • • •.
MILLBURN, NJ - Paper Mill Playhouse is pleased to announce casting for the world-premiere production of the new musical comedy The Honeymooners, based on the CBS television series, with book by Dusty Kay and Bill Nuss, music by Stephen Weiner, and lyrics by Peter Mills. This world-premiere musical features direction from Tony Award-winner John Rando, choreography by Emmy Award-winner Joshua Bergasse with musical direction and vocal arrangements by Remy Kurs. Performances are set to begin Thursday, September 28, 2017, for a limited run through Sunday, October 29, 2017, at Paper Mill Playhouse (22 Brookside Drive) in Millburn, NJ. Major support is provided by The Blanche and Irving Laurie Foundation. America’s favorite dreamers have a brand-new scheme. The Honeymooners is a world-premiere musical comedy inspired by the classic television series.
Ralph Kramden and his buddy Ed Norton are back and still shooting for the moon. After shocking their wives by winning a high-profile jingle contest, they are catapulted out of Brooklyn and into the cutthroat world of Madison Avenue advertising, where they discover that their quest for the American Dream might cost them their friendship. Filled with big laughs and an infectious score, The Honeymooners will bang-zoom its way into your heart.
The principal cast will feature Tony Award winner Michael McGrath as Ralph Kramden, Michael Mastro as Ed Norton, Leslie Kritzer as Alice Kramden, and Tony Award nominee Laura Bell Bundy as Trixie Norton, with Lewis Cleale as Bryce Bennett, Lewis J. Stadlen as Old Man Faciamatta, and David Wohl as Allen Upshaw. The Honeymooners ensemble will feature Holly Ann Butler, Chris Dwan, Hannah Florence, Tessa Grady, Stacey Todd Holt, Ryan Kasprzak, Drew King, Eloise Kropp, Harris Milgrim, Justin Prescott, Lance Roberts, Jeffrey Schecter, Britton Smith, Alison Solomon, Michael Walters, and Kevin Worley. The Honeymooners will be performed eight times a week, Wednesday through Sunday.
The performance schedule is Wednesday at 7:30 p.m., Thursday at 1:30 p.m. & 7:30 p.m., Friday at 8:00 p.m., Saturday at 1:30 p.m. And Sunday at 1:30 p.m. & 7:30 p.m. Tickets are on sale now. Paper Mill Playhouse's 2017/2018 season is proudly sponsored by Investors Bank. The production team includes set design by Beowulf Boritt, costume design by Jess Goldstein, lighting design by Jason Lyons, sound design by Kai Harada, hair, wig & makeup design by Leah J. Loukas, with orchestrations by Doug Besterman and dance arrangements by Sam Davis.
The production stage manager is Timothy R. Casting is by Telsey + Company, Patrick Goodwin, CSA. Michael McGrath (Ralph Kramden). Broadway: The Front Page, She Loves Me, On the Twentieth Century, Nice Work If You Can Get It (Tony, Drama Desk, and Outer Critics Circle Awards), Born Yesterday, Memphis, Is He Dead?, Spamalot (Tony and Drama Desk nominations), Wonderful Town, Little Me, Swinging on a Star (Theatre World Award, Drama Desk nomination), The Goodbye Girl, My Favorite Year. City Center Encores!: Du Barry Was a Lady, The Boys from Syracuse, Follies. Off Broadway: The Government Inspector, The Cocoanuts, Forbidden Broadway, The Butter and Egg Man.
TV: The Martin Short Show. Film: Changing Lanes, The Interpreter, Ira & Abby. Michael Mastro (Ed Norton). Broadway: West Side Story, Twelve Angry Men, Cat on a Hot Tin Roof, Mamma Mia!, Judgement at Nuremberg, Side Man, Barrymore (with Christopher Plummer), Love!
Off Broadway: Volpone (Red Bull), Any Given Monday (59E59/Act Two), and others. Regional: Paper Mill (twice previously!), Shakespeare Theatre DC, Dallas Theater Center, North Shore Music Theatre, Old Globe, Penguin Rep, Williamstown, George Street Playhouse (two seasons as resident artistic director). Film: Kissing Jessica Stein, The Night We Never Met, Jungle 2 Jungle. TV: HBO’s new film about Joe Paterno, Law and Order: SVU, Nurse Jackie, Magic City, Alias.
Member: Actors’ Equity, Actors Center. Leslie Kritzer (Alice Kramden). Broadway: Sondheim on Sondheim, A Catered Affair (Drama Desk nomination), Legally Blonde, Elf and Hairspray.
Off-Broadway and regional credits include Judas and Me, Rooms: A Rock Romance (Outer Critics Circle nomination), On The Town (Encores!), The Great American Trailer Park Musical (Drama Desk nomination), Bat Boy, Godspell, The Memory Show, Damn Yankees, the world premiere of POP! (Yale Rep), Three Generations (Kennedy Center), Cabaret, Born Yesterday, the world premiere of Vanities, Urinetown (National Tour), Evita, and Funny Girl (Paper Mill Playhouse). She has performed at London's Royal Albert Hall as a guest soloist honoring Tim Rice and Alan Menken. Film credits include '17 Photos of Isabel.'
Television credits include '3 LBS' (CBS) and 'Jason and Jessica' (HBO). Laura Bell Bundy (Trixie Norton) happily returns to Paper Mill, where she played Dainty June in Gypsy. Originated Tina Denmark in Ruthless (OCC, Drama Desk nominations), Amber Von Tussle in Hairspray, and Elle Woods in Legally Blonde (Tony, OCC, Drama Desk nominations); played Glinda in Wicked. TV: Good Behavior, Scream Queens, How I Met Your Mother, Anger Management, Hart of Dixie, Documentary Now, Royal Pains, Cold Case, Veronica Mars, Guiding Light, many more. Film: Dreamgirls, Jumanji, Life with Mikey, and others. Her album Achin’ and Shakin’ debuted in the top 5 on Billboard’s country charts, CMT nomination for breakout video of the year. Created, directed, and produced LBBTV web series Cooter County and Skits-O-Frenic.
Lewis Cleale (Bryce Bennett) Broadway: The Book of Mormon, Sondheim On Sondheim, Spamalot, Amour, Once Upon A Mattress, Swinging On A Star. Off Broadway: A New Brain, The Fantasticks, Time And Again, Call Me Madam (Encores!) TV: “Elementary,” “BrainDEAD.” Lewis voiced Cliff the troll in Disney's FROZEN.
Stadlen (Old Man Faciamatta). Broadway: The Front Page, The Nance, Fish in the Dark, The Producers, The Man Who Came to Dinner (Drama Desk Award nomination), Laughter on the 23rd Floor, A Funny Thing Happened on the Way to the Forum (Tony Award nomination), The Female Odd Couple, Candide (Tony Award nomination), The Sunshine Boys, Minnie’s Boys (Drama Desk, Outer Critics Circle, Theatre World Awards). Some of his better films include Serpico, The Verdict, To Be or Not to Be, and In & Out. He has been seen on television in Damages, The Sopranos, and Smash. David Wohl (Allen Upshaw) Paper Mill Playhouse: The Diary of Anne Frank. Broadway: Golden Boy, Fiddler on the Roof, Dinner at Eight, The Man Who Had All the Luck. Regional: Weston, Pittsburgh Public, Huntington, Bucks County, Victory Gardens, Goodspeed; older: Williamstown, George Street, LaJolla, Taper, Cincinnati.
Off-Broadway: E.S.T., Rattlestick, Playwrights Horizons, TFANA,Abingdon. Film (recent): Asher, The Boy Downstairs, Are You Joking?; (earlier): The Wackness, Saving Private Ryan, Hot Shots Part Deux, Brewster's Millions, Revenge of the Nerds, Sophie's Choice. Recent television: recurring on “Madame Secretary;” older includes series regulars on “Brooklyn Bridge,” “D.E.A.,” “Once a Hero,” and the animated “Hey Arnold.”.