Latest news with #CitizensOperaHouse
Boston Globe
01-07-2025
- Entertainment
- Boston Globe
‘Back to the Future' celebrates 40 years, and a musical reworking
Luke Antony Neville, left, and Lucas Hallauer, right, in "Back to the Future." McLeod9 Creative Advertisement However, as they met with potential producers, they faced skepticism. 'We thought, 'This is going to be easy! Everybody and their uncle ought to be lining up to do this,'' Gale says. 'But it wasn't like that. They'd always say, 'Well, you guys have never done musical theater before. What makes you think you can do it?' And we'd say, 'Well, we invented the franchise! We know a whole lot about these characters and the story.'' Advertisement After a long-and-winding development path, 'Back to the Future: The Musical' finally bowed in Manchester, England, in 2020 before opening in London the following year, where it won the Olivier Award for Best Musical. Broadway beckoned in 2023, and now its national tour speeds into the Citizens Opera House, July 8-20, presented by Broadway in Boston, on the heels of the film's 40th anniversary on July 3. But as with the paradox that Marty unleashes by time-traveling back to 1955 and nearly screwing up his parents' courtship, the musical headed to Boston would've been erased from existence if not for a few 'sliding doors' moments. It all started with a storm that flooded screenwriter Bob Gale's childhood home in St. Louis. While helping his parents clean out the basement, he found his father's high school yearbook and saw his picture as senior class president. 'I thought about the president of my class, who was one of these rah-rah school spirit guys who I would've had nothing to do with,' Gale recalls. 'And I wondered, 'Was my dad that kind of guy? Would I have been friends with my dad if I'd gone to high school with him?'' As he stared at the photo, a lightning-bolt thought struck him: What if I could go back and meet my father back then? That sparked the idea for a film about a teenager who gets accidentally whisked back in time, encounters his parents as high schoolers, and tries to ensure they fall in love with each other so he doesn't get deleted from history. As Gale and Zemeckis began developing the musical, they enlisted the film's composer Alan Silvestri and Grammy-winning songwriter Glen Ballard to write the score, with influences from both 1980s and 1950s rock. But the road was strewn with potholes. By 2014, they'd parted ways with visionary theater auteur Jamie Lloyd, who just won a Tony Award for his reimagining of 'Sunset Boulevard' ('He had some wacky ideas,' Gale says), and hired Tony-winning ' Advertisement It was important to them to strike a balance between honoring the original film while creating something new for a different genre. 'One of the things that we were very resolute about was that we did not want this stage production to be a carbon copy of the movie,' Gale says. Many of the movie's famous lines and classic moments remain, but other aspects were altered or excised. So you'll see the DeLorean fly and Doc declare, 'Roads? Where we're going, we don't need roads.' Lorraine ( With a musical, though, you can crack open the characters' hearts and inner-lives in song. Silvestri and Ballard wrote a heartfelt second act number for Doc Brown (David Josefsberg), 'For the Dreamers,' where he sings about creative visionaries, both the famous and the failed, who have big ideas and 'never stop believing in them.' 'Musical theater gave us a way to really go deep into Doc Brown's head,' Gale says. 'And because Doc Brown sings, he automatically becomes a warmer character.' Advertisement They wrote a 1950s-style doo-wop number, 'Pretty Baby,' for Marty's mother Lorraine to sing in the 1955 timeline to the handsome young stranger asleep in her bed, as Marty nervously fends off her advances. 'Musical theater can take the reality of a situation and put it into a heightened, kind of twisted place,' Rando said. For Marty's meek father, George (Mike Bindeman), who's bossed around by his high school bully, Biff (Nathaniel Hackmann), where 'we learn about him and how he wants the girl, but he's afraid to go after her,' Gale says. Then in 'Put Your Mind To It,' Marty tries to boost George's self-confidence so he can win Lorraine's heart by 'teaching him to dance and to stand up for himself and fight for what he wants.' Ultimately, the father-son dynamic is key. 'The boy learns about his parents in a way that he had never dreamed of and finds himself closer to his family at the end,' Rando says. Naturally, the car is the 1.21 gigawatt star. So the team needed to create the illusion that the flux-capacitor-powered DeLorean speeds across the stage at 88 miles per hour, travels through time and later achieves liftoff. That meant leaning into the innovative magic of Tim Hatley's scenic design, Finn Ross' video design, and Chris Fisher's theatrical illusions. 'It's really spectacular,' Gale says. 'I think we raised the bar on what you could do on stage.' Of course, they worried about disappointing fans with a stage version that didn't live up to the film. But Gale says that most fans he's encountered have adored the show, including one woman in London who told him she quit therapy and instead spent that money on tickets to see 'Back to the Future' every week—and she's happier for it. Advertisement Gale speculates that the story continues to resonate 40 years later because it captures the moment in every child's life when 'they suddenly understand that my parents were once young like me. That's a cosmic idea.' It also powerfully illustrates how one decision in life can have far-reaching effects. 'We see these two different timelines for the McFly family—one where George stands up for himself, and one is where George wimps out. So it's a good reminder to people to say, 'The things that I do in my life matter. This may be an important decision I'm making, and I need to give it thought.' BACK TO THE FUTURE Presented by Broadway in Boston. At: Citizens Opera House, July 8-20. Tickets: from $40;
CBS News
14-04-2025
- Entertainment
- CBS News
Country music musical, "Shucked" brings elevated comedy to Boston audiences
The Tony Award-winning musical, "Shucked," has made its way to Boston! The popular performance lets country music and comedy take center stage. "I think that country music lends itself so well to musical theater because country music is about stories," said actor Miki Abraham. "The music, I think it's the surprising factor, maybe like the secret weapon of the show," said actor Danielle Wade. She portrays Maizy, a girl on a mission to save her small town's way of life when something goes wrong with the corn. The actors said the songs lead the way. "I think country music is so full as an art form. They have so many kinds of instruments, and it really has this warm, cozy feeling. There's a comfortability, a familiarity with country music that really translates in our show, I think," Wade explained. "Country music is incredible for musical theater, but what makes this show so great is it just sprinkles in all kinds of different genres under the umbrella of country music," said Abraham. Abraham has called "Shucked" home since its inception. They were part of the pre-Broadway run in Salt Lake City, then transferred with the show onto Broadway, and now follows the show on the road. They're playing Lulu, Maizy's cousin. On Broadway, they were the understudy for the part, which earned Lynn native Alex Newell a Tony award last year. "Whenever I was stepping into the role, I was like 'okay, I have to make this my own because there's no way that anyone could ever be Alex Newell,'" said Abraham. In this comedy, the jokes come fast. "It is a science up there, and it is so fun," said Wade. "When do you get to laugh for two-and-a-half hours and forget everything else in the world and truly laugh?" Abraham says, "We always win them over. If there's one person in the audience that is like, 'Oh, I don't like dad jokes. I don't like puns.' There's going to be something that's going to get you to just, 'haha!'" "The comedy itself is elevated comedy. It seems like it shouldn't be. It's very he-ha adjacent, but it's elevated comedy, " Wade adds. "The audience has to be smart, and the Boston audience is very smart. It's okay to be a little cheesy, a little corny, if you will. It's actually preferred. Maybe a requirement for the rest of life. Be a little corny." "Shucked" is playing at the Citizens Opera House in Boston through April 20.
Boston Globe
30-01-2025
- Entertainment
- Boston Globe
‘Funny Girl,' and its impossible lead role, head to Boston
Advertisement Hannah Shankman is now portraying Fanny on the national tour of 'Funny Girl,' which arrives at the Citizens Opera House from February 4-16, presented by Broadway in Boston. The actress says she can relate to the immense pressure of carrying the iconic show and trying to step into Streisand's shoes. She remembers watching the movie with her sister many times as a kid, so the part has always been a 'bucket list dream.' 'It really is the role of a lifetime, and Barbra made it that. She allowed for the legacy,' Shankman said in a Zoom interview from a tour stop in Florida. For Fanny, Shankman said, 'You have to find someone who can play both young and play mature…someone who can be funny and wear their heart on their sleeve. But because Barbra did it so well, it felt daunting to try to find someone to live up to it.' Just ask Beanie Feldstein, who headlined the 2022 Broadway revival, before being abruptly shunted aside for 'Spring Awakening' and 'Glee' star Lea Michele. The casting switcheroo was high drama, and both actresses were targets for vicious online commentary. Slings and arrows aside, Fanny Brice is one of the most demanding in the musical theater canon. Fanny is onstage nearly the entire time, sings 16 songs. and has almost two dozen costume changes. The score, by composer Jule Style and lyricist Bob Merrill, is wide-ranging and boasts such classics as 'People,' 'If a Girl Isn't Pretty,' 'I'm the Greatest Star,' 'His Love Makes Me Beautiful,' and the epic 'Don't Rain on My Parade.' Many of the tunes were tailored specifically to Streisand's inimitable voice. Advertisement The story, which takes liberties with Brice's real life, follows her rise from modest means, as the daughter of a widowed saloon-keeper mother, to becoming a headliner in the 'Ziegfeld Follies.' Despite her mother's hopes to find her a husband, the quick-witted Fanny is determined to become a stage star and pushes past obstacles and opposition to achieve her dream. Along the way, she falls in love with inveterate gambler and con man Nick Arnstein, and their tumultuous love affair (and later marriage) provides the backbone for most of the second act. Shankman had some experience with the role before this tour. She played Fanny in a regional production of 'Funny Girl' in Missouri in 2016 for about a dozen performances. 'It was just a little taste, and I was like, 'Wow, what I wouldn't give to have more time to flesh this out, discover new things, really dig my teeth in,'' Shankman said. When the national tour launched in 2023, Shankman was the Fanny Brice standby for a year before taking over the role full-time in September. She said that director Michael Mayer and the creative team encouraged her to make the character her own and 'to bring my own tools and skills and humor to the table.' Fanny's upbringing is familiar terrain for Shankman. She, too, grew up in a Jewish family in New York and had an affinity for the stage from a young age. 'My parents are both actors, so I was around the theater from the time I was about 2. My mom went into labor with me while my dad was doing a show. It's always been in me, just like it's always been in Fanny.' Advertisement She also relates to the character's 'chutzpah,' her feisty and headstrong personality and her seemingly improbable dreams of stardom. 'She uses humor as a way to connect with people. She goes after what she wants and doesn't take no for an answer or stop believing in herself,' Shankman says. 'That's kind of been my trajectory in life, too. Fanny was told she couldn't be in the theater because of the way she looked, and when I auditioned for college programs for musical theater, I got rejected from all of them.' When producers first approached director Michael Mayer ('Spring Awakening,' 'A Beautiful Noise') about helming 'Funny Girl,' he was intrigued. His grandparents were big Fanny Brice fans, and he would listen to her recordings with them. As an 8-year-old on vacation with his family in Rehoboth Beach, Delaware, they went to see 'Funny Girl' on a rainy day. 'I remember my mother was transfixed by Barbra Streisand,' he says via Zoom. 'Fanny was really a force to be reckoned with, and Jule Styne and Bob Merrill really captured that drive brilliantly with these songs.' Hannah Shankman and Stephen Mark Lukas (Nick) in "Funny Girl." Matthew Murphy for MurphyMade Still, Mayer felt Isobel Lennart's original book needed some reshaping, though he adds there was much to admire, too. He suggested to producers that they hire theater icon Harvey Fierstein ('Kinky Boots,' 'La Cage aux Folles') to freshen up the second act and to sharpen the focus on Fanny's tumultuous marriage to Nick Arnstein. 'We have to hear more from Nick,' Mayer said. 'Otherwise, it basically becomes a Fanny Brice concert.' Advertisement Mayer and Fierstein went back into the 'Funny Girl' archives and added in two songs for Nick that had been discarded from the original—'You're a Funny Girl,' which comes when Fanny secretly fronts the capital for Nick to become a partner at a talent agency, and 'Temporary Arrangement,' when he enters into some bad business deals with Fanny's money. Fierstein rejiggered and restructured the script in the second act and added a comic monologue for the pioneering Fanny. 'I thought there were lots of things that we could adjust and make it feel slightly more contemporary,' Mayer said. 'We've worked very hard to transcend some of the old-fashioned clunkiness that is baked into a lot of musicals from the 1960s.' Grammy award winning singer-songwriter Melissa Manchester ('Midnight Blue,' 'Don't Cry Out Loud') plays Mrs. Brice in the tour. As a young girl growing up in the Bronx, Manchester saw the original production with Streisand. Later, at the height of Manchester's pop career in the 1980s, she says Styne reached out to see if she'd be interested in doing 'Funny Girl,' but she turned it down. 'At that point, Streisand's aura was still too bright,' she said. But when this current tour was announced, she went after the role of Fanny's tough-yet-supportive mother Mrs. Brice. 'I insisted to my manager that I at least get an audition,' she said. 'This show has always been part of the musical landscape of my life.' Manchester says it's important not to perform the show through contemporary eyes. In the early 1900s, 'there was no language for codependency, gambling addiction or psychology. Everybody was just stumbling in the dark, struggling to get by and hoping for the best.' Advertisement In the second act, the conflict with Nick takes center stage, with their dynamic shifting as his gambling spirals out of control and Fanny finds fame and fortune. 'I think that felt very emasculating for Nick, and it really took a toll on their relationship,' Shankman says. 'They go from this lustful and passionate romance, where they put each other on pedestals, to a tumultuous disconnect.' Ultimately, Fanny 'is someone who just wants to be loved and give love, and she sees the best in people,' Shankman says. 'It may be a flaw, but she loves herself regardless of her flaws. I think that's a lesson that takes her time to learn and it's a great reminder for all of us.' FUNNY GIRL Presented by Broadway in Boston. At: The Citizens Opera House, February 4-16. Tickets: from $40.
