BRIGHTON BEACH MEMOIRS centers on young Jewish teen Eugene Morris Jerome and his extended family living in a crowded home in the Brighton Beach section of Brooklyn in 1937: his overworked father, Jack; overbearing mother, Kate; his older brother Stanley; Kate's widowed sister Blanche and her daughters, Nora and Laurie. As Eugene spends his time daydreaming about a baseball career, he must also cope with his family's troubles, his awkward discovery of the opposite sex and his developing identity as a writer. 

David Rooney, Variety: "Hats off to the farsighted producers of "The Neil Simon Plays" for taking a risk on their choice of director. While David Cromer's most recent New York hits, "Adding Machine" and "Our Town," mined piercing depths in timeworn texts, they did so in an austere presentational style that seemed a million miles from the warm-hearted humor of "Brighton Beach Memoirs." The first installment of a Simon double that continues with "Broadway Bound," opening Dec. 10, the revival strikes an exquisite balance between comedy and pathos, its impeccable ensemble landing every laugh while exploring every emotional nuance to build a tremendously moving portrait of family life."

Ben Brantley, The New York Times: "In trying to subvert the cliché of the screaming Jewish family dinner, Mr. Cromer hasn't come up with an alternative connective sensibility. I was often aware of a host of individual performances - some of them very artful - that didn't necessarily link into the others. And there were times I felt an intellectual distance between the performers and their roles."

Elisabeth Vincentelli, NY Post: "THE only way "Brighton Beach Memoirs" could be any cozier is if we watched it in pajamas while sip ping an egg cream. Like a cruise ship returning to port, Neil Simon's 1983 hit sailed back to Broadway last night, bathed in a mellow glow. The quarter-century that's elapsed since the original opening has added even more soft-lit nostalgia to a play drenched in it."

Michael Kuchwara, Associated Press: "You could call "Brighton Beach" a comedy-drama, a play peppered with amusing, often jokey dialogue alternating with poignant moments of personal confrontation and reconciliation. Yet the disconnect is not as disruptive as it could be thanks to David Cromer's smooth, seamless direction and an accomplished cast."

Frank Scheck, Hollywood Reporter: ""Brighton," which opened Sunday night ("Bound" will follow in a few weeks), won't fully satisfy the director's fans in that he has imposed no new spin on Simon's nostalgic comedy drama. But the production does illustrate his particular talent for getting to the emotional heart of whatever he tackles."

Elysa Gardner, USA Today: "Under any circumstances, then, a revival of Brighton Beach Memoirs, Simon's portrait of a thoroughly endearing Jewish family in late 1930s Brooklyn, would be a welcome diversion. But the new production (* * *½ out of four) that opened Sunday at the Nederlander Theatre is a lot more than that."

Robert Feldberg, Bergen Record: "The play's comedy is mostly typical Simon one-liners, but in the initial production, it served as a counterbalance that prevented the second act from descending into a series of tear-jerking moments. Here, the comic element is weaker, exposing the dramatic flaws in a play that was once hailed for its seriousness, the "maturing" of a funnyman playwright."

Chris Jones, Chicago Tribune: "In his distinguished and, frankly, very moving Broadway directing debut, David Cromer mostly does what he has been doing for years in little theaters all over Chicago. He tackles a tired, second-tier play - Neil Simon's autobiographical "Brighton Beach Memoirs" - that has become clouded with contrivances, cliches and the stamps of star actors, and, in this particular case, expectations over the efficient deliveries of iconic one-liners."

John Simon, Bloomberg: "Neil Simon's supposedly autobiographical comedy, "Brighton Beach Memoirs," now revived as the first of two related shows dubbed "The Neil Simon Plays," is fundamentally feel-good stuff and, as such, intellectually suspect. Yet it is cleverly enough contrived -- jokes abound -- to prove for a hefty majority pleasantly relaxing fare."

Joe Dziemianowicz, NY Daily News: Neil Simon's "Brighton Beach Memoirs" is back on Broadway 26 years after its original run in a production that's warm and funny (which was expected) and uninspired (which wasn't). Surprising, since it's staged by David Cromer, a director known for reshaping material, like his much-admired "Our Town" Off-Broadway. But this is a revival of a memory play that's not all that memorable."

Stephanie Zacharek, NY Magazine: "This revival, directed by David Cromer (Our Town), clearly tries to ease up on some of the play's aggressive broadness while preserving its raucous, slightly crude spirit. But that broadness, like a persistent jack-in-the-box, can't be tamped down for long, and the result is a wearying evening of squeezed-out laughs. Simon's alter ego, the hormonally charged 15-year-old Eugene Morris Jerome, isn't the hero of the play-he's the tummler, working overtime to coax a response from the audience. The actor who portrays him here, a newcomer named Noah Robbins, fulfills Simon's intent to the letter. He's playing to the house pretty hard, especially during the extensive narration."

Linda Winer, Newsday: ""Brighton Beach Memoirs" is not as good as it was in 1983. It is even better. Neil Simon's coming-of-age autobiographical comedy is not as heartwarming as it was when the hit starred young Matthew Broderick and ran three years. It's now also a heartbreaker."

Erik Haagensen, Backstage: ""Memoirs" was a breakthrough for Simon. His characters became richer, and he doesn't flinch from moments of depression, anger, resentment, and even rage. He relies less on one-liners, generally confining them appropriately to smart-aleck Eugene narration. Nevertheless, he falters in the second act by tying everything up to neatly and happily. While that keeps the play from greatness, nothing is likely to keep the audience from having a great time at this revival."

Thom Geier, Entertainment Weekly: "Laughs are, after all, Simon's stock and trade. There are plenty of them in this fine revival, easily the best show of a young Broadway season. A lot of things may have changed in the last quarter century, but this show's punchlines still work. A-"

Posted by Robert Diamond on Sunday, October 25, 2009 @ 9:22 PM

Broadway Originals at Town Hall

Those four Jews were in a room bitching again last Sunday afternoon.  No, I don't mean The Marvelous Wonderettes.  I mean Whizzer, Jason, Mendel and Marvin, also known as Stephen Bogardus, Jonathan Kaplan, Chip Zien and Michael Rupert.  As any fan of neurotic, gay musical theatre will tell you, they were the quartet who first opened the 1992 Broadway production of Falsettos with William Finn's frenetic patter, "Four Jews in a Room Bitching."

Town Hall was the room where the original Broadway company of Falsettos reunited as a special feature of this year's edition of Broadway Originals, the traditional Sunday afternoon finale to Town Hall's fifth annual Broadway Cabaret Festival.  Taking his usual spot at the stage left podium, Scott Siegel explained how the unusual gestation of this musical about a charming fellow named Marvin who tries to mold a functional family out of Trina (the wife he divorced), Jason (the son he adores) and Whizzer (the man he loves) began with Finn's three separately produced one-act Off-Broadway musicals:  In Trousers (1979), its sequel, March of the Falsettos (1981) and finally Falsettoland (1990).  The latter two (with a bit of material from the first) made up acts one and two of the Broadway production.

Having originated the same roles in March..., Falsettoland, and Falsettos, the trio of Rupert (Marvin), Bogardus (Whizzer) and Zien (Mendel, the family psychiatrist) are naturally strongly identified with this material.  Joining them were Barbara Walsh (Trina), a 29-year-old Jonathan Kaplan (who played the 13-year old Jason) and, as "the lesbians from next door," Heather MacRae as Dr. Charlotte and Janet Metz as the kosher caterer, Cordelia.  (Metz, though she originated her role in Falsettoland, did not appear in the Broadway production because she was already contracted to another show.)  The camaraderie and affection the performers have for both the material and each other was clearly visible through the multiple on-stage hugs and warm smiles throughout the ten-song presentation.

Bogardus' heavily emotional "The Games I Play" and Rupert's tender "What More Can I Say?" were gorgeously sung highlights, as was Walsh's hilariously frustrated, "I'm Breaking Down."  Zien and Kaplan (whose voice has developed into an attractive baritone) set comical sparks with "Everyone Hates Their Parents," and MacRae and Metz joined Rupert and Bogardus for a beautifully harmonized "Unlikely Lovers."  By the time the evening ended with Rupert singing "Father to Son" to the now grown-up Kaplan (who would be flying off to get married the next day) there were very few dry eyes both on stage and off.

But that was only Act II of Broadway Originals.  The first act followed the usual form of having various original cast members from the past sing a number they either introduced on Broadway or re-introduced in a revival.  While previous editions have featured performances that stretched back to over fifty years of Broadway history, this year's show focused on the more recent past.  Sharon McNight held the distinction of presenting the most vintage performance, reprising her rousing showstopper from 1989's Starmites, "It's Hard to Be Diva."  Marc Kudisch followed his comically self-satisfied "Breezing Through Another Day" (The Wild Party) with snake-like moves for The Apple Tree's "Forbidden Fruit."

Celia Keenan-Bolger displayed her vocal versatility, first perkily explaining the joys of "My Friend, The Dictionary" (The 25^th Annual Putnam County Spelling Bee) and then with an intense and emotional "On My Own" (Les Miserables).   Kerry O'Malley's charming "Moments in The Woods" (Into The Woods) was followed by her lush and sensual "Love, You Didn't Do Right By Me" (White Christmas), where she was joined by Bogardus who countered with "How Deep Is The Ocean."  And it was a pleasure to once again hear Julia Murney ("Beautiful Boy" from Lennon), Manu Narayan ("The Journey Home" from Bombay Dreams) and Stephanie J. Block ("Get Out and Stay Out" from 9 To 5) repeat their personal successes from not quite successful musicals.

The special surprise guest, Daisy Eagan, who at age 11 became the youngest female Tony Award winner ever for her performance in The Secret Garden, flew in from Los Angeles to sing a lovely rendition of "The Girl I Meant To Be."

With music direction by John Fischer and stage direction by Scott Coulter, this year's Broadway Originals was once again an immensely enjoyable afternoon for lovers of musical theatre.

Photos by Genevieve Rafter Keddy:  Top:  Stephen Bogardus and Michael Rupert; Bottom:  Daisy Eagan.

Posted by Michael Dale on Saturday, October 24, 2009 @ 6:59 PM

---

After Miss Julie

The Roundabout Theater Company presents Patrick Marber's After Miss Julie, directed by Mark Brokaw. Sienna Miller (Factory Girl) and Jonny Lee Miller (Trainspotting) make their Broadway debuts in this provocative American premiere. Patrick Marber's new version of August Strindberg's drama about class and sex transposes Miss Julie to the English countryside on the eve of the Labour Party's landslidevictory in the summer of 1945.

David Rooney, Variety: "That's some handsome country kitchen Allen Moyer has designed for "After Miss Julie," with its chunky farm table, its sideboard stacked with Wedgewood and its oven range fringed by hanging copper pots and hissing steam. Pity there's so little cooking in Mark Brokaw's enervated production. Like Strindberg's play, Patrick Marber's blunt postwar-English update of the 1888 drama about class and sex requires an actress capable of negotiating wild swings and reversals. But Sienna Miller is out of her depth in the title role, making her dance of power and death an unaffecting tragedy."

Ben Brantley, The New York Times: While Mr. Miller and Ms. Miller are undeniably attractive people, their Julie and John don't seem terribly attractive to each other, a serious problem. There is one early moment of real erotic tension, when Julie extends her leg and asks John to kiss her shoe. Ms. Miller looks smug at first, then saucy, then distinctly uncomfortable and finally a bit frightened, as Julie wonders what she has let herself in for. Mr. Miller snatches at that pretty foot like a ravenous fish going after a hooked worm. Unfortunately, he - and we - are destined to stay hungry for the rest of the night."

Michael Kuchwara, Associated Press: "The Roundabout Theatre Company production, which opened Thursday at its American Airlines Theatre, demonstrates that Marber's updating and transplanting of the Scandinavian drama to post-World War II England works, for the most part, just fine."

Terry Teachout, The Wall Street Journal: "The action unfolds on the fateful night that the Brits voted Winston Churchill out of office and opted for the promise of socialism, which tells you just about everything you need to know about "After Miss Julie," whose real subject is contemporary class warfare in England. (It's not true that all contemporary English plays are about class warfare-it just seems that way.) Mr. Marber claims that "After Miss Julie" is "in its way, truer" than the original play on which it's based, but all he's done for "Miss Julie" is tart it up with politics and vulgarize it beyond recognition."

Jeff Labrecque, Entertainment Weekly: "Though the two characters have a well of self-loathing in common, the actors' chemistry is surprisingly stagnant. When the audience is finally willing to accept that John is merely the instrument for Julie's self-destruction, the play inconveniently asserts the lovers' long-suppressed pining for each other, which only underlines the performers' shortcomings. The two lovers trade verbal blows, while deciding whether to run away to New York City. 'The Americans are charmed by us,' says poor, bland John. 'They die for the accent.' I wish it were so. C"

Joe Dziemianowicz, NY Daily News: "Miller, making her Broadway debut, is improbably beautiful, every inch the "fine-looking filly" John calls her. She's committed and competent, but her performance is a shade monochromatic, not modulated enough to make Miss Julie's jagged edges sharp."

Elisabeth Vincentelli, NY Post: Strindberg described his heroine as having a "weak and degenerate brain," a strain of misogyny that made his play devastating. This isn't the Julie of Marber, director Mark Brokaw or Sienna Miller. John doesn't feel brutal enough, either. (Only the brilliant Marin Ireland, in the thankless part of the cook, succeeds in playing varying emotions, which move across her face like shifting clouds.) It's this fear -- or inability -- of making the two leads as unhinged or as odious as they need to be that keeps "After Miss Julie" from taking off."

Frank Scheck, Hollywood Reporter: "Although "After Miss Julie" manages to up the ante in terms of sexual explicitness and language, its points about class and sexual warfare seem, if anything, more obvious than in the original. The story still has an undeniable power, but the overall effect feels more akin to a playwriting exercise than a deeply felt re-exploration."

John Simon, Bloomberg News: "The show, which opened last night on Broadway, features increased sexuality, violence and vulgarity. Even allowing for a persuasive performance by Sienna Miller, it is certainly no improvement on the original."

Robert Feldberg, Bergen Record: "The beautiful British star of films and gossip columns gives it her emotional all, but the reservoir isn't very deep. Her repertoire of expressions is limited to haughtiness and neediness, which doesn't offer much opportunity for persuasiveness."

Elysa Gardner, USA Today: "But then, something is always happening to the folks in After Miss Julie, in their tortured minds. That psychological and sexual tension ensures few dull moments."

Erik Haagensen, Backstage: "After Roundabout's recent "Bye Bye Birdie" debacle, it's heartening to be able to report that the company has bounced back with a gripping production of Patrick Marber's "After Miss Julie," his reworked version of Strindberg's classic. Now set in the kitchen of an English country mansion on the 1945 evening when Winston Churchill's Conservative government lost to the Labour Party, this trenchant look at class and sexual warfare feels right at home."

Michael Sommers, NewJerseyNewsRoom.com: "Unless someone is an unconditional fan of either Miller, there's little reason to see Roundabout Theatre Company's so-what production, which, considering the questionable necessity for reviving the piece at all these days, might better be titled "Why Miss Julie?""

Linda Winer, NY Newsday: "When Miss Julie taunts John, accusing him of being "secretly a Tory," we're supposed to hear that as a killer insult. Marin Ireland plods sympathetically around the fringes as the cook, Christine, unofficial fiancee of John, a character given more weight than in the Strindberg. When she says, "I have lower expectations, so I am seldom disappointed," it's hard not to suspect she's recommending the same to us."

Posted by Robert Diamond on Thursday, October 22, 2009 @ 10:35 PM

---

Avenue Q

No, that steady rumble you may hear and feel beneath your feet as you walk along 50th Street between 8th and 9th Avenues these evenings is not the A train making its way to Columbus Circle. It's the sound of laughing audiences having a swell time in the underground quintet of auditoriums called New World Stages. The former movie multiplex turned Off-Broadway house seems to be experiencing a happy renaissance, with its long-running anchor production, Altar Boyz, having been joined by laughter-inducing hits like The Toxic Avenger, Naked Boys Singing, My First Time and The Gazillion Bubble Show (which I haven't seen but I'm sure brings out many giggles from the youngsters). The hilarious Love Child, which previously ran at 59E59 will be moving in shortly, but first the welcome mat (and perhaps a red carpet) has been set for the center's new crown jewel as the Tony-winning Avenue Q completes its successful Broadway run and returns to its Off-Broadway roots.

The show that asks the musical question, "What if the generation of American kids who grew up learning life's little lessons by watching television shows like Sesame Street and The Electric Company had the same kind of program that used puppets, catchy songs and friendly humans to help them learn the big lessons they need to know after graduating college and entering the real world?," started as the brainchild of composer/lyricists Jeff Marx and Robert Lopez. When their hilariously educational tunes like, "Everyone's A Little Bit Racist," "If You Were Gay (That Would Be Okay)" and the who-are-the-losers-in-your-neighborbood? anthem, "It Sucks To Be Me" were combined with Jeff Whitty's very funny and surprisingly touching book, Rick Lyon's personality-laden puppets and Jason Moore's crafty direction that enhanced the material's satirical edge while keeping the characters loveable, a truly original Broadway hit was born.

I haven't seen Avenue Q since shortly after its Broadway opening but if my memory serves well, aside from a some slight staging changes and perhaps one or two book revisions, everything looks the same, right down to Anna Louizos' slumscape set that hides surprises in secret compartments. (Okay, one aspect that changed with the times is that when one character sings of a "mixed tape" of songs another has recorded for her, she's not longer hold a cassette tape, but a CD. However a couple of reliable sources have clued me in that the term "mixed tape" is still used in such cases.)

The new Off-Broadway cast is a talented and likeable ensemble made up of Q vets from Broadway and national tours. Seth Rettberg is all wide-eyed enthusiasm manipulating Princeton, the 22-year-old college graduate ready to take on the world armed with nothing but a B.A. in English. Anika Larsen, whose rich, expressive belt has livened up many a Gotham musical, tones it down to a sweeter level as Kate Monster, Princeton's puppet love interest, but gets to show off her sassy vocals as over-sexed nightclub entertainer known as Lucy The Slut.

Rettberg also scores as the closeted gay Republican investment banker Rod, who is nervous about not being able to keep the door shut much longer as he grows more and more attracted to his roommate, Nicky (a merrily goofy Cullen R. Titmas who doubles as the porn-obsessed Trekkie Monster.) While Maggie Lakis doesn't have any large roles to play (she's an adorable half of The Bad Idea Bears), she's most visible while being a second hand to help manipulate puppets voiced by others, doing a charming job of silently expressing whatever is being said.

On the human side, Nicholas Kohn (as the genial, underachieving wannabe stand-up comic, Brian), Sala Iwamatsu (as his demanding fiancé named Christmas Eve) and Danielle K. Thomas (who sings with a raucous R&B swagger as former child star Gary Coleman) all make very funny contributions to this sharp and breezy mounting of a gem of a show.

Photos by Carol Rosegg: Top: Maggie Lakis, Cullen R. Titmas and Seth Rettberg; Bottom: Anika Larsen

Posted by Michael Dale on Thursday, October 22, 2009 @ 10:47 AM

---

New BWW iPhone App

BroadwayWorld.com, the largest theatre site on the net and the first to bring viewers high quality videos, web radio, Twitter watch, coast to coast coverage, mobile access, interactive grosses, fan photos, 3rd party 'stage tube' videos and lots more is now also the first Broadway site on the net to release an iPhone application, available now.

The Beta version of the app, now available free of charge in Apple's iPhone Application store has already been downloaded several hundred times in its first days of release and features iPhone optimized versions of all of our news, regional content from the site's 100+ theatre markets, photos, special offers, blogs, show listings, message boards, online wireless ticket sales and more, along with links to other wireless features.

You can get the app by searching for 'Broadway' or 'BroadwayWorld' or by clicking here.

Already in-the-works future versions of the applications will include search, video, streaming BroadwayWorld Radio, database access and other exclusive interactive features that take advantage of the BroadwayWorld.com platform and that all it has to offer.

Update: If you have or haven't downloaded the iPhone app yet, it's been updated with Streaming BWW Radio, Wireless Search, Special Offers & More. 

 

Posted by Robert Diamond on Wednesday, October 21, 2009 @ 3:37 PM

---

MEMPHIS Review Roundup

From the rockin' dance halls of Memphis, Tennessee comes this hot and bothered new Broadway musical with heart, soul and energy to burn. Set in the turbulent south in the 1950s, it is the story of Huey Calhoun, a white radio DJ whose love of good music transcends race lines and airwaves. Get ready to experience all the exuberance and the emotion... the beauty and the controversy... of a wondrous, defining time in our history. You're tuning in to Memphis, so turn up that dial!

MEMPHIS features a brand new score with music by Bon Jovi's founding member/keyboardist David Bryan and lyrics by Bryan and Joe DiPietro (I Love You, You're Perfect, Now Change), who also pens the musical's book. Bryan and DiPietro also collaborated on the current award-winning off-Broadway hit, The Toxic Avenger. MEMPHIS is based on a concept by the late George W. George (producer of the Tony nominated Bedroom Farce and the film My Dinner With Andre), with direction by Tony nominee Christopher Ashley (Xanadu) and choreography by Sergio Trujillo (Jersey Boys).

On a personal note, and readers know that I rarely toss in my two cents here -- I loved the show and found it to be a great experience that's an example of everything that's 'right' with Broadway...

Michael Kuchwara, Associated Press: "But the show, which opened Monday, is as ambitious as it is entertaining, informative in a quasi-historical way as well as emotionally affecting in its parade of thoroughly engaging characters."

David Sheward, Backstage: "Though its brain may be a bit simple, "Memphis" has its heart and soul in the right place. The new musical features a rock-solid score by Bon Jovi keyboardist David Bryan, dynamic singing, and athletic dancing. "

David Rooney, Variety: "A talented cast, stirring vocals, athletic dance numbers and vigorous direction supply crowd-pleasing elements in the lively new musical, "Memphis," as evidenced by the waves of appreciation coming off the audience. But there's also a nagging predictability to this story of a white DJ who brings rockin' rhythm and blues from black Beale Street to the mainstream in 1950s Tennessee. The show is entertaining but synthetic, its telepic plotting restitching familiar threads from "Hairspray" and "Dreamgirls," while covering fictitious ground adjacent to that of recent biopic 'Cadillac Records.'"

Charles Isherwood, NY Times: "All the performers do their best to infuse Mr. Bryan and Mr. DiPietro's score with the earthy vibrance it fundamentally lacks, despite the obvious pop craftsmanship. At various points in the show Mr. Bryan evokes the powerhouse funk of James Brown, the hot guitar riffs of Chuck Berry, the smooth harmonies of the Temptations, the silken, bouncy pop of the great girl groups of the period. But despite all attempts to light a fire under the songs, at no point are you likely to confuse Mr. Bryan and Mr. DiPietro's smooth facsimiles of period rock 'n' roll and R&B for the rollicking real thing."

Elysa Gardner, USA Today: "The focus of this well-intentioned hokum-fest, which opened Monday at the Sam S. Shubert Theatre, is rather the "race music" that paved the way for the King of Rock 'n' Roll and his progeny. Set in the 1950s in the city that put Elvis on the map, Memphis (two out of four) traces the star-crossed creative and romantic partnership between a young white man who loves rhythm & blues and a black woman who loves to sing it." 

Frank Sheck, Hollywood Reporter: "I've never been to Memphis, but I've seen "Memphis," the new Broadway musical, and can only hope that the city isn't a disappointment by comparison. This tale of a white DJ in the 1950s desperately enamored of "race music" and a black singer whom he helps rise to stardom comes as an out-of-left-field-surprise: an original musical, not based on a presold property and devoid of stars, that is joyfully entertaining in musical and theatrical terms. " 

Joe Dziemianowicz, NY Daily News: "Nice to know a new musical can actually surprise you. Though it starts on a familar note and sparks deja vu at other points, "Memphis" eventually finds its own voice and beat, and wins you over with its sheer enthusiasm and exuberant performances."

Linda Winer, NY Newsday: "Broadway has been eerily quiet about new musicals this season. That just changed - in a very big way - with "Memphis," arguably the best black musical written by white guys since 'Dreamgirls.'"

Clark Collis, Entertainment Weekly: "In short, here's what we can say: Hocka-maybe check it out if you can't get tickets to anything better! C+"

John Simon, Bloomberg News: "This is more than a simple feel-good story; there are plentiful setbacks for the young lovers and only a semi-happy ending, if that. But I can guarantee you a rambunctious good time highlighted by rousing music and singing, spectacular dancing, and even some shedding of tender tears."

Matt Windman, AM New York: "Under the fast and flashy direction of Christopher Ashley,"Memphis" proves to be a truly entertaining and invigorating musical, benefiting immensely from Sergio Trujillo's athletic choreography, which is like a big bundle of kinetic energy."

Posted by Robert Diamond on Monday, October 19, 2009 @ 6:41 PM

---

Grosses: 10/18 & Quote...

"If I had to live my life again I'd make the same mistakes, only sooner."

-- Tallulah Bankhead

 

The grosses are out for the week ending 10/18/2009 and we've got them all right here in BroadwayWorld.com's grosses section.

Up for the week was: AFTER MISS JULIE (13.0%), MEMPHIS (6.3%), MAMMA MIA! (4.0%), HAIR (3.7%), THE PHANTOM OF THE OPERA (3.2%), SOUTH PACIFIC (3.1%), IN THE HEIGHTS (2.9%), SUPERIOR DONUTS (2.7%), BYE BYE BIRDIE (1.5%), CHICAGO (1.5%), MARY POPPINS (1.2%), NEXT TO NORMAL (1.2%), WISHFUL DRINKING (0.8%), HAMLET (0.4%), JERSEY BOYS (0.1%),

Down for the week was: OLEANNA (-18.1%), SHREK THE MUSICAL (-11.7%), BRIGHTON BEACH MEMOIRS (-6.7%), THE ROYAL FAMILY (-6.1%), THE 39 STEPS (-4.5%), WEST SIDE STORY (-3.4%), THE LION KING (-1.9%), BURN THE FLOOR (-1.7%), GOD OF CARNAGE (-0.2%), A STEADY RAIN (-0.2%),

Posted by Michael Dale on Monday, October 19, 2009 @ 11:19 PM

---

The Royal Family

In the 1920s, George S. Kaufman was one of the primary reasons New York was firmly establishing itself as the nation's capital of wit.  Until his death in 1961, Kaufman could be called the quintessential New Yorker; continually working on Broadway as a playwright and director, reluctantly venturing out to Hollywood on occasion and regretting every moment of it and frequently quoted for his crackling cleverness ("I understand your new play is full of single entendres.").

But while Kaufman was a singular individual, his plays were almost always collaborations and each of his frequent writing partners seemed to influence the style of the project.  With Morrie Ryskind (Animal Crackers, Of Thee I Sing) he wrote wildly zany books for musicals.  His partnership with Moss Hart (You Can't Take It With You, The Man Who Came To Dinner) produced his most sentimental works and with Edna Ferber (Stage Door, Dinner at Eight) his most colorful female characters came alive.

And in 1927 it was with Ferber that the first major, lasting work of the Kaufman catalogue, The Royal Family, was created.  Spoofing the country's first family of the theatre, the Barrymores, The Royal Family is not only a sharp-witted commentary on American celebrity, but an earnest portrait of three generations of women who deal with the peculiar family legacy of being a star.  Director Doug Hughes mounts a positively sumptuous new revival, grandly dignified in design and madly farcical in spirit.

Rosemary Harris is warmly regal as family matriarch, Fanny Cavendish; a woman so devoted to the theatre that even at her advanced age she excitedly awaits another national tour.  Her old-school dedication was shared by her late husband, who died minutes after the last performance of a contracted run, but not before taking four curtain calls.  Her granddaughter Gwen (Kelli Barrett, charming as a spirited modern) is expected to make her Broadway debut in a substantial supporting role in her mother's (Jan Maxwell) next play, but when the demands of the theatre get in the way of her love life, Gwen reevaluates what she wants for her future.

Maxwell, a canny and intelligent comic actress, is deliciously showcased as Julie Cavendish, the family's main breadwinner who is trying to raise a daughter, take care of her mother and consider marriage while rushing to make her curtain eight times a week.  The role allows her to be over-the-top in a manner that is realistic for the character, climaxing in a positively hilarious second act nervous breakdown where she swears that she's given up the theatre for good.

Reg Rogers is grandly hammy fun as he flamboyantly eloquates his role as Tony Cavendish (a/k/a John Barrymore), hiding out from the press after a physical altercation with an incompetent Hollywood director.  Anthony Newfield filled in for the recuperating Tony Roberts at the performance I attended and was very pleasing as the father-figure family manager.  John Glover, as Fanny's less successful actor brother, Anna Gasteyer, as his crass and condescending actress wife and David Greenspan and Caroline Stefanie Clay, as the servants who calmly manage the constant calamity of the household lead an excellent supporting cast.

John Lee Beatty's duplex apartment set - a gorgeous creation dominated by a grand staircase and decorated with an imposing assortment of framed portraits and theatre posters - and Catherine Zuber's smart assortment of character-specific period costumes fill the stage with a distinguished tone that plays straight for the savory antics of Kaufman, Ferber and Hughes' positively perfect company.

Photos by Joan Marcus:  Top: Jan Maxwell, Kelli Barrett and Rosemary Harris; Bottom: Ana Gasteyer and Reg Rogers

Posted by Michael Dale on Monday, October 19, 2009 @ 3:20 AM

---

Hamlet

Contemporary black costumes for the whole cast?  Check.

Imposing, but minimalist, set?  You got it.

Annoying side-lighting that keeps the actors in shadows for most of act one?  It's in there.

Aggressive, sexy, darkly humorous performance by the title character?  Oh, yeah.

If you're a frequent theatre-goer who has seen a decent number of Hamlets, or just a decent number of contemporary Shakespeare productions, chances are you'll get that old feeling of déjà vu watching Michael Grandage's Donmar Warehouse import, now parked at the Broadhurst for a limited run.  While the mounting has its highs and lows, several directorial choices - once considered edgy, now pretty standard - keep this Hamlet draped in familiarity.  The evening is lean, professional, fast-moving and not particularly interesting.

As the young prince seeking revenge for the murder of his father, Jude Law is certainly no melancholy baby.  His attention-grabbing presence commands the stage in an actorly way that stresses vengefulness, eloquence, athleticism and an arrogant, though not especially effective, wit.  (Does he really need to impersonate the animal when suggesting that the king keeps Rosencrantz and Guildenstern around, "as an ape doth nuts...?")  What's missing is any kind of vulnerability or hesitancy that would add some realistic textures.  It's doubtful that the Prince of Denmark goes around avenging murders every day, but this Hamlet seems a fearless professional at it.

Grandage surrounds the star with an acceptable supporting cast, highlighted by Ron Cook's irritatingly intellectual Polonius and wryly comic gravedigger, Peter Eyre's richly-voiced elegance as both the ghost of Hamlet's father and the Player King and Gwilym Lee's aggressive and energized Laertes.  On the other hand, Kevin R. McNally's Claudius could use some emotional punch and Gugu Mbatha-Raw's barely audible Ophelia hardly registers.

The tall and thick walls of Christopher Oram's set appropriately suggest the title character's reference to Denmark as a prison, but combined with his almost uniformly black costumes (it's a clever move when the players, in performance, wear white) and Neil Austin's frequently dim lighting (the actors are significantly more visible in the second half), the design is more frustratingly alienating than mood enhancing.  Sadly, aside from a handful of performances, that seems to be a consistent theme with this Hamlet.

Photo of Peter Eyre and Jude Law by Johann Persson.

Posted by Michael Dale on Sunday, October 18, 2009 @ 1:07 AM

---

Bye Bye Birdie Reviews

Bye Bye Birdie returns to Broadway in Roundabout Theater Company's new production starring John Stamos (Albert Peterson), Gina Gershon (Rose Alvarez) & Bill Irwin (Mr. Harry MacAfee) with Jayne Houdyshell (Mrs. Mae Peterson) & Dee Hoty (Mrs. MacAfee) and as “Conrad Birdie” Nolan Gerard Funk. Featuring a score with more pop than a pack of bubble gum, including “A Lot of Livin' to Do,” “Kids,” and “Put on a Happy Face,” opened Thursday night on Broadway.

Ben Brantley, The New York Times: "If you get a chance, send a few dozen get-well cards to Henry Miller's Theater, the new, handsomely renovated outpost of the Roundabout Theater Company empire. Flu season has arrived, and an especially mean virus appears to have attacked the cast of the revival of "Bye Bye Birdie," which opened Thursday night. I don't think it's the swine flu that has flattened Robert Longbottom's production of this popular 1960 musical about rebel rock 'n' roll versus small-town America wholesomeness. The symptoms in this case include tin ear, loss of comic timing, uncontrollable jitters and a prickly disorientation that screams, "Where am I?" and "What am I doing?" Theatergoers may feel an empathetic urge to rush home and bury their heads in their pillows."

Terry Teachout, The Wall Street Journal: "Needless to say, it long ago became common for musicals to be performed by accomplished actors who can also sing a little, but this is ridiculous. Not to put too fine a point on it, the Roundabout's revival of "Bye Bye Birdie" is the worst-sung musical I've ever seen on Broadway. If that prospect doesn't faze you, or if you're tone-deaf, then go with my blessing: Mr. Longbottom is an immensely gifted director-choreographer, and there's plenty to like about this production. I only wish it had been overdubbed."

David Rooney, Variety: "Warmed-over apple pie and flat soda pop, anyone? That's the all-American snack being served in less-than-optimum form in "Bye Bye Birdie." The first Broadway revival of the 1960 musical ought to be a lot more fun. But Robert Longbottom's miscast, over-designed production rarely musters the energy or effervescence its riot of candy color and teenage hormones might suggest. The show retains its corny charms and a bunch of tuneful songs, which might be enough for undiscerning family audiences; others will struggle to identify much authentic flavor in its aggressive blandness."

Erik Haagensen, Backstage: "Director-choreographer Robert Longbottom's production seems calculated to decimate the material. Number after number implodes, whether due to clueless direction, fussy and unfocused choreography, or incompetent singing and dancing. Joke after joke dies on the vine. Longbottom appears not to understand that "Birdie" is a satire."

Elysa Gardner, USA Today: "The good news is that the Roundabout revival (* * * out of four), which opened Thursday at Henry Miller's Theatre, milks this trifle for all its breezy charm."

Michael Kuchwara, Associated Press: "By today's standards, their rebellion isn't much. But a half-century ago, "Birdie" seemed awash in gentle, slightly subversive charm, that both parents and their children could relate to. Plus it exuded a genuine likability, a cheerfulness kept aloft by a buoyant score. That charm - and a sense of fun - are missing in action on the stage of Broadway's newest theatre."

Robert Feldberg, The Bergen Record: "The 1960 musical, cherished by all high school drama teachers, is more than slightly familiar. But director-choreographer Robert Longbottom has given it a fresh and shiny production that, while uneven, is pleasingly fast on its feet."

Frank Schneck, The Hollywood Reporter: "This is, surprisingly enough, the first Broadway revival of the show since its premiere 48 years ago. Hopefully, another one will come along in the not-too-distant future to erase the sour taste of this rendition."

John Simon, Bloomberg.com: "Still fresh at nearly 50, the 1960 musical "Bye Bye Birdie" rebounds on Broadway remarkably well as a takeoff on Elvis, rock and roll, and high-school hijinks, a triumph of lovable silliness. It also spoofs the shenanigans of show-business. This is a show both for the kid with you and the kid within you."

Elisabeth Vincentelli, NY Post: "Under director-choreographer Robert Longbottom, this "Birdie" has been completely drained of fun and energy. The Roundabout would have been better off recycling the spirited Encores! production from 2004."

Joe Dziemianowicz, NY Daily News: "Forty-nine years ago, "Birdie" put teen subculture in the spotlight. This production is at its best when the kids are center stage, especially in "A Lot of Livin' to Do," led by the hip-swiveling Funk, plus the pretty-voiced Trimm and the young ensemble. It's got the right restless energy and exuberant optimism. Shame it's only a rare moment when Broadway's new "Birdie" takes flight."

Linda Winer, Newsday: "Alas, the Roundabout Theatre Company's production, directed and choreographed like a bus-and-truck tour by Robert Longbottom, manages to be both frantic and stillborn. John Stamos, as Albert, the show-biz manager and mama's boy, is just pleasantly lightweight in a dance-driven role created by Dick Van Dyke onstage and in the 1963 movie. The painfully miscast Gina Gershon croons into approximate notes, posing more than dancing as a crude sexpot of a Rose, his longtime secretary/ girlfriend."

Michael Sommers, NewJerseyNewsRoom.com: "Despite its disappointing staging, this brisk lampoon of the Elvis Presley craze still manages to deliver a decent amount of amusement on its own merits, thanks to writer Michael Stewart's frisky story and a bright, breezy score by lyricist Lee Adams and composer Charles Strouse featuring the nice likes of "Put on a Happy Face" and "Kids." A catchy title number created for the screen version has been added for the curtain calls but otherwise it's the same show as ever."

Tanner Stransky, Entertainment Weekly: "In the realm of cheesy musicals, Bye Bye Birdie has long been a heavyweight, bubbling with silly gags, trite lyrics, and a windy story. Any review of it should be couched with this important caveat: Birdie is a weak, flawed show blessed with a few catchy, nostalgic tunes. The latest revival - bringing the '60s tuner back to Broadway for the first time in nearly 50 years - doesn't transcend the show's nature. This Birdie is still weak, cheesy, and trite. But even so, it's fun."

Posted by Robert Diamond on Thursday, October 15, 2009 @ 10:11 PM

---

Bway's First iPhone App

Well, it's been quite the week here where I've also been getting over the flu, but I'm VERY excited and happy to share some great news, and that's that the first version of BroadwayWorld.com's iPhone app is now available (for FREE) from Apple's iPhone App Store. 

You can get the app by searching for 'Broadway' or 'BroadwayWorld' or by clicking here. 

We're proud to be the first Broadway web site with an iPhone app, and this early version features iPhone optimized versions of all of our news, regional content, photos, special offers, blogs, show listings and more, along with links to our wireless message board and other features. 

We've got A LOT of new features coming to already-in-the-works updated versions of the app in the very near future including search, video, and lots more and I'd love any and all feedback that YOU'VE got of this early release version and new features that YOU would like to see.

Please email me at robert@broadwayworld.com with your questions, comments and solutions and thanks as always for your support!

Posted by Robert Diamond on Thursday, October 15, 2009 @ 2:25 PM

---

Jump to Blog Date: 2009-11-072009-11-062009-11-052009-11-042009-11-032009-11-022009-11-012009-10-312009-10-302009-10-292009-10-282009-10-272009-10-262009-10-252009-10-242009-10-232009-10-222009-10-212009-10-202009-10-192009-10-182009-10-172009-10-162009-10-152009-10-142009-10-132009-10-122009-10-112009-10-102009-10-092009-10-082009-10-072009-10-062009-10-052009-10-042009-10-032009-10-022009-10-012009-09-302009-09-292009-09-282009-09-272009-09-262009-09-252009-09-242009-09-232009-09-222009-09-212009-09-202009-09-192009-09-182009-09-172009-09-162009-09-152009-09-142009-09-132009-09-122009-09-112009-09-102009-09-092009-09-082009-09-072009-09-062009-09-052009-09-042009-09-032009-09-022009-09-012009-08-312009-08-302009-08-292009-08-282009-08-272009-08-262009-08-252009-08-242009-08-232009-08-222009-08-212009-08-202009-08-192009-08-182009-08-172009-08-162009-08-152009-08-142009-08-132009-08-122009-08-112009-08-102009-08-092009-08-082009-08-072009-08-062009-08-052009-08-042009-08-032009-08-022009-08-012009-07-312009-07-302009-07-292009-07-282009-07-272009-07-262009-07-252009-07-242009-07-232009-07-222009-07-212009-07-202009-07-192009-07-182009-07-172009-07-162009-07-152009-07-142009-07-132009-07-122009-07-112009-07-102009-07-092009-07-082009-07-072009-07-062009-07-052009-07-042009-07-032009-07-022009-07-012009-06-302009-06-292009-06-282009-06-272009-06-262009-06-252009-06-242009-06-232009-06-222009-06-212009-06-202009-06-192009-06-182009-06-172009-06-162009-06-152009-06-142009-06-132009-06-122009-06-112009-06-102009-06-092009-06-082009-06-072009-06-062009-06-052009-06-042009-06-032009-06-022009-06-012009-05-312009-05-302009-05-292009-05-282009-05-272009-05-262009-05-252009-05-242009-05-232009-05-222009-05-212009-05-202009-05-192009-05-182009-05-172009-05-162009-05-152009-05-142009-05-132009-05-122009-05-112009-05-102009-05-092009-05-082009-05-072009-05-062009-05-052009-05-042009-05-032009-05-022009-05-012009-04-302009-04-292009-04-282009-04-272009-04-262009-04-252009-04-242009-04-232009-04-222009-04-212009-04-202009-04-192009-04-182009-04-172009-04-162009-04-152009-04-142009-04-132009-04-122009-04-112009-04-102009-04-092009-04-082009-04-072009-04-062009-04-052009-04-042009-04-032009-04-022009-04-012009-03-312009-03-302009-03-292009-03-282009-03-272009-03-262009-03-252009-03-242009-03-232009-03-222009-03-212009-03-202009-03-192009-03-182009-03-172009-03-162009-03-152009-03-142009-03-132009-03-122009-03-112009-03-102009-03-092009-03-082009-03-072009-03-062009-03-052009-03-042009-03-032009-03-022009-03-012009-02-282009-02-272009-02-262009-02-252009-02-242009-02-232009-02-222009-02-212009-02-202009-02-192009-02-182009-02-172009-02-162009-02-152009-02-142009-02-132009-02-122009-02-112009-02-102009-02-092009-02-082009-02-072009-02-062009-02-052009-02-042009-02-032009-02-022009-02-012009-01-312009-01-302009-01-292009-01-282009-01-272009-01-262009-01-252009-01-242009-01-232009-01-222009-01-212009-01-202009-01-192009-01-182009-01-172009-01-162009-01-152009-01-142009-01-132009-01-122009-01-112009-01-102009-01-092009-01-082009-01-072009-01-062009-01-052009-01-042009-01-032009-01-022009-01-012008-12-312008-12-302008-12-292008-12-282008-12-272008-12-262008-12-252008-12-242008-12-232008-12-222008-12-212008-12-202008-12-192008-12-182008-12-172008-12-162008-12-152008-12-142008-12-132008-12-122008-12-112008-12-102008-12-092008-12-082008-12-072008-12-062008-12-052008-12-042008-12-032008-12-022008-12-012008-11-302008-11-292008-11-282008-11-272008-11-262008-11-252008-11-242008-11-232008-11-222008-11-212008-11-202008-11-192008-11-182008-11-172008-11-162008-11-152008-11-142008-11-132008-11-122008-11-112008-11-102008-11-092008-11-082008-11-072008-11-062008-11-052008-11-042008-11-032008-11-022008-11-012008-10-312008-10-302008-10-292008-10-282008-10-272008-10-262008-10-252008-10-242008-10-232008-10-222008-10-212008-10-202008-10-192008-10-182008-10-172008-10-162008-10-152008-10-142008-10-132008-10-122008-10-112008-10-102008-10-092008-10-082008-10-072008-10-062008-10-052008-10-042008-10-032008-10-022008-10-012008-09-302008-09-292008-09-282008-09-272008-09-262008-09-252008-09-242008-09-232008-09-222008-09-212008-09-202008-09-192008-09-182008-09-172008-09-162008-09-152008-09-142008-09-132008-09-122008-09-112008-09-102008-09-092008-09-082008-09-072008-09-062008-09-052008-09-042008-09-032008-09-022008-09-012008-08-312008-08-302008-08-292008-08-282008-08-272008-08-262008-08-252008-08-242008-08-232008-08-222008-08-212008-08-202008-08-192008-08-182008-08-172008-08-162008-08-152008-08-142008-08-132008-08-122008-08-112008-08-102008-08-092008-08-082008-08-072008-08-062008-08-052008-08-042008-08-032008-08-022008-08-012008-07-312008-07-302008-07-292008-07-282008-07-272008-07-262008-07-252008-07-242008-07-232008-07-222008-07-212008-07-202008-07-192008-07-182008-07-172008-07-162008-07-152008-07-142008-07-132008-07-122008-07-112008-07-102008-07-092008-07-082008-07-072008-07-062008-07-052008-07-042008-07-032008-07-022008-07-012008-06-302008-06-292008-06-282008-06-272008-06-262008-06-252008-06-242008-06-232008-06-222008-06-212008-06-202008-06-192008-06-182008-06-172008-06-162008-06-152008-06-142008-06-132008-06-122008-06-112008-06-102008-06-092008-06-082008-06-072008-06-062008-06-052008-06-042008-06-032008-06-022008-06-012008-05-312008-05-302008-05-292008-05-282008-05-272008-05-262008-05-252008-05-242008-05-232008-05-222008-05-212008-05-202008-05-192008-05-182008-05-172008-05-162008-05-152008-05-142008-05-132008-05-122008-05-112008-05-102008-05-092008-05-082008-05-072008-05-062008-05-052008-05-042008-05-032008-05-022008-05-012008-04-302008-04-292008-04-282008-04-272008-04-262008-04-252008-04-242008-04-232008-04-222008-04-212008-04-202008-04-192008-04-182008-04-172008-04-162008-04-152008-04-142008-04-132008-04-122008-04-112008-04-102008-04-092008-04-082008-04-072008-04-062008-04-052008-04-042008-04-032008-04-022008-04-012008-03-312008-03-302008-03-292008-03-282008-03-272008-03-262008-03-252008-03-242008-03-232008-03-222008-03-212008-03-202008-03-192008-03-182008-03-172008-03-162008-03-152008-03-142008-03-132008-03-122008-03-112008-03-102008-03-092008-03-082008-03-072008-03-062008-03-052008-03-042008-03-032008-03-022008-03-012008-02-292008-02-282008-02-272008-02-262008-02-252008-02-242008-02-232008-02-222008-02-212008-02-202008-02-192008-02-182008-02-172008-02-162008-02-152008-02-142008-02-132008-02-122008-02-112008-02-102008-02-092008-02-082008-02-072008-02-062008-02-052008-02-042008-02-032008-02-022008-02-012008-01-312008-01-302008-01-292008-01-282008-01-272008-01-262008-01-252008-01-242008-01-232008-01-222008-01-212008-01-202008-01-192008-01-182008-01-172008-01-162008-01-152008-01-142008-01-132008-01-122008-01-112008-01-102008-01-092008-01-082008-01-072008-01-062008-01-052008-01-042008-01-032008-01-022008-01-012007-12-312007-12-302007-12-292007-12-282007-12-272007-12-262007-12-252007-12-242007-12-232007-12-222007-12-212007-12-202007-12-192007-12-182007-12-172007-12-162007-12-152007-12-142007-12-132007-12-122007-12-112007-12-102007-12-092007-12-082007-12-072007-12-062007-12-052007-12-042007-12-032007-12-022007-12-012007-11-302007-11-292007-11-282007-11-272007-11-262007-11-252007-11-242007-11-232007-11-222007-11-212007-11-202007-11-192007-11-182007-11-172007-11-162007-11-152007-11-142007-11-132007-11-122007-11-112007-11-102007-11-092007-11-082007-11-072007-11-062007-11-052007-11-042007-11-032007-11-022007-11-012007-10-312007-10-302007-10-292007-10-282007-10-272007-10-262007-10-252007-10-242007-10-232007-10-222007-10-212007-10-202007-10-192007-10-182007-10-172007-10-162007-10-152007-10-142007-10-132007-10-122007-10-112007-10-102007-10-092007-10-082007-10-072007-10-062007-10-052007-10-042007-10-032007-10-022007-10-012007-09-302007-09-292007-09-282007-09-272007-09-262007-09-252007-09-242007-09-232007-09-222007-09-212007-09-202007-09-192007-09-182007-09-172007-09-162007-09-152007-09-142007-09-132007-09-122007-09-112007-09-102007-09-092007-09-082007-09-072007-09-062007-09-052007-09-042007-09-032007-09-022007-09-012007-08-312007-08-302007-08-292007-08-282007-08-272007-08-262007-08-252007-08-242007-08-232007-08-222007-08-212007-08-202007-08-192007-08-182007-08-172007-08-162007-08-152007-08-142007-08-132007-08-122007-08-112007-08-102007-08-092007-08-082007-08-072007-08-062007-08-052007-08-042007-08-032007-08-022007-08-012007-07-312007-07-302007-07-292007-07-282007-07-272007-07-262007-07-252007-07-242007-07-232007-07-222007-07-212007-07-202007-07-192007-07-182007-07-172007-07-162007-07-152007-07-142007-07-132007-07-122007-07-112007-07-102007-07-092007-07-082007-07-072007-07-062007-07-052007-07-042007-07-032007-07-022007-07-012007-06-302007-06-292007-06-282007-06-272007-06-262007-06-252007-06-242007-06-232007-06-222007-06-212007-06-202007-06-192007-06-182007-06-172007-06-162007-06-152007-06-142007-06-132007-06-122007-06-112007-06-102007-06-092007-06-082007-06-072007-06-062007-06-052007-06-042007-06-032007-06-022007-06-012007-05-312007-05-302007-05-292007-05-282007-05-272007-05-262007-05-252007-05-242007-05-232007-05-222007-05-212007-05-202007-05-192007-05-182007-05-172007-05-162007-05-152007-05-142007-05-132007-05-122007-05-112007-05-102007-05-092007-05-082007-05-072007-05-062007-05-052007-05-042007-05-032007-05-022007-05-012007-04-302007-04-292007-04-282007-04-272007-04-262007-04-252007-04-242007-04-232007-04-222007-04-212007-04-202007-04-192007-04-182007-04-172007-04-162007-04-152007-04-142007-04-132007-04-122007-04-112007-04-102007-04-092007-04-082007-04-072007-04-062007-04-052007-04-042007-04-032007-04-022007-04-012007-03-312007-03-302007-03-292007-03-282007-03-272007-03-262007-03-252007-03-242007-03-232007-03-222007-03-212007-03-202007-03-192007-03-182007-03-172007-03-162007-03-152007-03-142007-03-132007-03-122007-03-112007-03-102007-03-092007-03-082007-03-072007-03-062007-03-052007-03-042007-03-032007-03-022007-03-012007-02-282007-02-272007-02-262007-02-252007-02-242007-02-232007-02-222007-02-212007-02-202007-02-192007-02-182007-02-172007-02-162007-02-152007-02-142007-02-132007-02-122007-02-112007-02-102007-02-092007-02-082007-02-072007-02-062007-02-052007-02-042007-02-032007-02-022007-02-012007-01-312007-01-302007-01-292007-01-282007-01-272007-01-262007-01-252007-01-242007-01-232007-01-222007-01-212007-01-202007-01-192007-01-182007-01-172007-01-162007-01-152007-01-142007-01-132007-01-122007-01-112007-01-102007-01-092007-01-082007-01-072007-01-062007-01-052007-01-042007-01-032007-01-022007-01-012006-12-312006-12-302006-12-292006-12-282006-12-272006-12-262006-12-252006-12-242006-12-232006-12-222006-12-212006-12-202006-12-192006-12-182006-12-172006-12-162006-12-152006-12-142006-12-132006-12-122006-12-112006-12-102006-12-092006-12-082006-12-072006-12-062006-12-052006-12-042006-12-032006-12-022006-12-012006-11-302006-11-292006-11-282006-11-272006-11-262006-11-252006-11-242006-11-232006-11-222006-11-212006-11-202006-11-192006-11-182006-11-172006-11-162006-11-152006-11-142006-11-132006-11-122006-11-112006-11-102006-11-092006-11-082006-11-072006-11-062006-11-052006-11-042006-11-032006-11-022006-11-012006-10-312006-10-302006-10-292006-10-282006-10-272006-10-262006-10-252006-10-242006-10-232006-10-222006-10-212006-10-202006-10-192006-10-182006-10-172006-10-162006-10-152006-10-142006-10-132006-10-122006-10-112006-10-102006-10-092006-10-082006-10-072006-10-062006-10-052006-10-042006-10-032006-10-022006-10-012006-09-302006-09-292006-09-282006-09-272006-09-262006-09-252006-09-242006-09-232006-09-222006-09-212006-09-202006-09-192006-09-182006-09-172006-09-162006-09-152006-09-142006-09-132006-09-122006-09-112006-09-102006-09-092006-09-082006-09-072006-09-062006-09-052006-09-042006-09-032006-09-022006-09-012006-08-312006-08-302006-08-292006-08-282006-08-272006-08-262006-08-252006-08-242006-08-232006-08-222006-08-212006-08-202006-08-192006-08-182006-08-172006-08-162006-08-152006-08-142006-08-132006-08-122006-08-112006-08-102006-08-092006-08-082006-08-072006-08-062006-08-052006-08-042006-08-032006-08-022006-08-012006-07-312006-07-302006-07-292006-07-282006-07-272006-07-262006-07-252006-07-242006-07-232006-07-222006-07-212006-07-202006-07-192006-07-182006-07-172006-07-162006-07-152006-07-142006-07-132006-07-122006-07-112006-07-102006-07-092006-07-082006-07-072006-07-062006-07-052006-07-042006-07-032006-07-022006-07-012006-06-302006-06-292006-06-282006-06-272006-06-262006-06-252006-06-242006-06-232006-06-222006-06-212006-06-202006-06-192006-06-182006-06-172006-06-162006-06-152006-06-142006-06-132006-06-122006-06-112006-06-102006-06-092006-06-082006-06-072006-06-062006-06-052006-06-042006-06-032006-06-022006-06-012006-05-312006-05-302006-05-292006-05-282006-05-272006-05-262006-05-252006-05-242006-05-232006-05-222006-05-212006-05-202006-05-192006-05-182006-05-172006-05-162006-05-152006-05-142006-05-132006-05-122006-05-112006-05-102006-05-092006-05-082006-05-072006-05-062006-05-052006-05-042006-05-032006-05-022006-05-012006-04-302006-04-292006-04-282006-04-272006-04-262006-04-252006-04-242006-04-232006-04-222006-04-212006-04-202006-04-192006-04-182006-04-172006-04-162006-04-152006-04-142006-04-132006-04-122006-04-112006-04-102006-04-092006-04-082006-04-072006-04-062006-04-052006-04-042006-04-032006-04-022006-04-012006-03-312006-03-302006-03-292006-03-282006-03-272006-03-262006-03-252006-03-242006-03-232006-03-222006-03-212006-03-202006-03-192006-03-182006-03-172006-03-162006-03-152006-03-142006-03-132006-03-122006-03-112006-03-102006-03-092006-03-082006-03-072006-03-062006-03-052006-03-042006-03-032006-03-022006-03-012006-02-282006-02-272006-02-262006-02-252006-02-242006-02-232006-02-222006-02-212006-02-202006-02-192006-02-182006-02-172006-02-162006-02-152006-02-142006-02-132006-02-122006-02-112006-02-102006-02-092006-02-082006-02-072006-02-062006-02-052006-02-042006-02-032006-02-022006-02-012006-01-312006-01-302006-01-292006-01-282006-01-272006-01-262006-01-252006-01-242006-01-232006-01-222006-01-212006-01-202006-01-192006-01-182006-01-172006-01-162006-01-152006-01-142006-01-132006-01-122006-01-112006-01-102006-01-092006-01-082006-01-072006-01-062006-01-052006-01-042006-01-032006-01-022006-01-012005-12-312005-12-302005-12-292005-12-282005-12-272005-12-262005-12-252005-12-242005-12-232005-12-222005-12-212005-12-202005-12-192005-12-182005-12-172005-12-162005-12-152005-12-142005-12-132005-12-122005-12-112005-12-102005-12-092005-12-082005-12-072005-12-062005-12-052005-12-042005-12-032005-12-022005-12-012005-11-302005-11-292005-11-282005-11-272005-11-262005-11-252005-11-242005-11-232005-11-222005-11-212005-11-202005-11-192005-11-182005-11-172005-11-162005-11-152005-11-142005-11-132005-11-122005-11-112005-11-102005-11-092005-11-082005-11-072005-11-062005-11-052005-11-042005-11-032005-11-022005-11-012005-10-312005-10-302005-10-292005-10-282005-10-272005-10-262005-10-252005-10-242005-10-232005-10-222005-10-212005-10-202005-10-192005-10-182005-10-172005-10-162005-10-152005-10-142005-10-132005-10-122005-10-112005-10-102005-10-092005-10-082005-10-072005-10-062005-10-052005-10-042005-10-032005-10-022005-10-012005-09-302005-09-292005-09-282005-09-272005-09-262005-09-252005-09-242005-09-232005-09-222005-09-212005-09-202005-09-192005-09-182005-09-172005-09-162005-09-152005-09-142005-09-132005-09-122005-09-112005-09-102005-09-092005-09-082005-09-072005-09-062005-09-052005-09-042005-09-032005-09-022005-09-012005-08-312005-08-302005-08-292005-08-282005-08-272005-08-262005-08-252005-08-242005-08-232005-08-222005-08-212005-08-202005-08-192005-08-182005-08-172005-08-162005-08-152005-08-142005-08-132005-08-122005-08-112005-08-102005-08-092005-08-082005-08-072005-08-062005-08-052005-08-042005-08-032005-08-022005-08-012005-07-312005-07-302005-07-292005-07-282005-07-272005-07-262005-07-252005-07-242005-07-232005-07-222005-07-212005-07-202005-07-192005-07-182005-07-172005-07-162005-07-152005-07-142005-07-132005-07-122005-07-112005-07-102005-07-092005-07-082005-07-072005-07-062005-07-052005-07-042005-07-032005-07-022005-07-012005-06-302005-06-292005-06-282005-06-272005-06-262005-06-252005-06-242005-06-232005-06-222005-06-212005-06-202005-06-192005-06-182005-06-172005-06-162005-06-152005-06-142005-06-132005-06-122005-06-112005-06-102005-06-092005-06-082005-06-072005-06-062005-06-052005-06-042005-06-032005-06-022005-06-012005-05-312005-05-302005-05-292005-05-282005-05-272005-05-262005-05-252005-05-242005-05-232005-05-222005-05-212005-05-202005-05-192005-05-182005-05-172005-05-162005-05-152005-05-142005-05-132005-05-122005-05-112005-05-102005-05-092005-05-082005-05-072005-05-062005-05-052005-05-042005-05-032005-05-022005-05-012005-04-302005-04-292005-04-282005-04-272005-04-262005-04-252005-04-242005-04-232005-04-222005-04-212005-04-202005-04-192005-04-182005-04-172005-04-162005-04-152005-04-142005-04-132005-04-122005-04-112005-04-102005-04-092005-04-082005-04-072005-04-062005-04-052005-04-042005-04-032005-04-022005-04-012005-03-312005-03-302005-03-292005-03-282005-03-272005-03-262005-03-252005-03-242005-03-232005-03-222005-03-212005-03-202005-03-192005-03-182005-03-172005-03-162005-03-152005-03-142005-03-132005-03-122005-03-112005-03-102005-03-092005-03-082005-03-072005-03-062005-03-052005-03-042005-03-032005-03-022005-03-012005-02-282005-02-272005-02-262005-02-252005-02-242005-02-232005-02-222005-02-212005-02-202005-02-192005-02-182005-02-172005-02-162005-02-152005-02-142005-02-132005-02-122005-02-112005-02-102005-02-092005-02-082005-02-072005-02-062005-02-052005-02-042005-02-032005-02-022005-02-012005-01-312005-01-302005-01-292005-01-282005-01-272005-01-262005-01-252005-01-242005-01-232005-01-222005-01-212005-01-202005-01-192005-01-182005-01-172005-01-162005-01-152005-01-142005-01-132005-01-122005-01-112005-01-102005-01-092005-01-082005-01-072005-01-062005-01-052005-01-042005-01-032005-01-022005-01-012004-12-312004-12-302004-12-292004-12-282004-12-272004-12-262004-12-252004-12-242004-12-232004-12-222004-12-212004-12-202004-12-192004-12-182004-12-172004-12-162004-12-152004-12-142004-12-132004-12-122004-12-112004-12-102004-12-092004-12-082004-12-072004-12-062004-12-052004-12-042004-12-032004-12-022004-12-012004-11-302004-11-292004-11-282004-11-272004-11-262004-11-252004-11-242004-11-232004-11-222004-11-212004-11-202004-11-192004-11-182004-11-172004-11-162004-11-152004-11-142004-11-132004-11-122004-11-112004-11-102004-11-092004-11-082004-11-072004-11-062004-11-052004-11-042004-11-032004-11-022004-11-012004-10-312004-10-302004-10-292004-10-282004-10-272004-10-262004-10-252004-10-242004-10-232004-10-222004-10-212004-10-202004-10-192004-10-182004-10-172004-10-162004-10-152004-10-142004-10-132004-10-122004-10-112004-10-102004-10-092004-10-082004-10-072004-10-062004-10-052004-10-042004-10-032004-10-022004-10-012004-09-302004-09-292004-09-282004-09-272004-09-262004-09-252004-09-242004-09-232004-09-222004-09-212004-09-202004-09-192004-09-182004-09-172004-09-162004-09-152004-09-142004-09-132004-09-122004-09-112004-09-102004-09-092004-09-082004-09-072004-09-062004-09-052004-09-042004-09-032004-09-022004-09-012004-08-312004-08-302004-08-292004-08-282004-08-272004-08-262004-08-252004-08-242004-08-232004-08-222004-08-212004-08-202004-08-192004-08-182004-08-172004-08-162004-08-152004-08-142004-08-132004-08-122004-08-112004-08-102004-08-092004-08-082004-08-072004-08-062004-08-052004-08-042004-08-032004-08-022004-08-012004-07-312004-07-302004-07-292004-07-282004-07-272004-07-262004-07-252004-07-242004-07-232004-07-222004-07-212004-07-202004-07-192004-07-182004-07-172004-07-162004-07-152004-07-142004-07-132004-07-122004-07-112004-07-102004-07-092004-07-082004-07-072004-07-062004-07-052004-07-042004-07-032004-07-022004-07-012004-06-302004-06-292004-06-282004-06-272004-06-262004-06-252004-06-242004-06-232004-06-222004-06-212004-06-202004-06-192004-06-182004-06-172004-06-162004-06-152004-06-142004-06-132004-06-12

Next 20 Entries...