Tony Nominations 2022

Published on by juliebrannanLeave a comment

The Tony Awards given out next month will represent Broadway’s lurching progress toward normalcy (with periodic covid positivity shutdowns continuing) after the pandemic shutdown from March 2020 to September 2021. The Tony Awards for the truncated 2019-2020 season were held last September, and also served as a way to promote the reopening of live theatre in New York City to a wider audience. Those awards were anything but typical, however, since many new musicals and plays open in the spring to capitalize on the Tony nominations and awards, and the shutdown occurred before many had been able to open. “Six,” for instance, was set to open the very night Broadway was closed (March 12, 2020). Because of the shortened season, some categories had no nominations at all (Best Revival of a Musical, for instance) and Best Actor in a Musical had only one nomination (Aaron Tveit – and while that is not a guarantee of winning as over 50% of voters need to actively vote yes instead of no, fortunately he did win!).

While this season again was an unusual period (to be eligible, shows had to open between February 20, 2020 and May 4, 2021), the time included encompassed the normal seasonality of openings and the Tony nominations for 2021-2022 are robust. Out of 34 eligible productions this year, 29 received at least one nomination (even “Diana” received a nomination in costume design). All categories are competitive, with one even having seven nominees, and several with six. Since I have seen the majority of the nominees, I thought I would weigh in a bit on the bigger categories, both with my own opinion and what the general buzz is.

New Play

“Clyde’s”

“Hangmen”

“The Lehman Trilogy”

“The Minutes”

“Skeleton Crew”

I think it’s going to be hard for anyone to beat “The Lehman Trilogy” here, and it would get my vote. The only new plays nominated here that are still running are “The Minutes” (which I saw in previews pre-pandemic when Armie Hammer was still in it) and “Hangmen” (which is set to close mid-June) so I don’t think that “Lehman” having only run last fall will be a factor against it.

Revival of a Play

“American Buffalo”

“For Colored Girls Who Have Considered Suicide/ When the Rainbow Is Enuf”

“How I Learned to Drive”

“Take Me Out”

“Trouble in Mind”

Again, it seems that “How I Learned to Drive” will be hard to beat, and it would certainly get my vote. Simply brilliant.

Actress in a Musical

Sharon D Clarke, “Caroline, or Change”

Carmen Cusack, “Flying Over Sunset”

Sutton Foster, “The Music Man”

Joaquina Kalukango, “Paradise Square”

Mare Winningham, “Girl From the North Country”

While I absolutely loved Carmen Cusack in “Flying Over Sunset” (check out the cast recording!) and Joaquina Kalukango is giving a bravura performance that is perhaps the best thing about “Paradise Square,” if I had a vote I would cast it easily for Sharon D. Clarke in “Caroline or Change.” This was a Caroline whose simmering anger over the state of her life boiled over in a thundering “Lot’s Wife.” It would be wonderful if they could bring her back to do this for the Tonys.

Leading Actor in a Musical

Billy Crystal, “Mr. Saturday Night”

Myles Frost, “MJ”

Hugh Jackman, “The Music Man”

Rob McClure, “Mrs. Doubtfire”

Jaquel Spivey, “A Strange Loop”

Rob McClure’s nomination here is the only one for “Mrs. Doubtfire,” Crystal and Jackman are the old pros, but I think this comes down to two newcomers in their first role on Broadway: Myles Frost and Jaquel Spivey. My vote would go for Spivey, who carried me through Usher’s journey with intelligence, heart, and tremendous vocals.

Featured Actor in a Musical

Matt Doyle, “Company”

Sidney DuPont, “Paradise Square”

Jared Grimes, “Funny Girl”

John-Andrew Morrison, “A Strange Loop”

A.J. Shively, “Paradise Square”

I posted the playbill from “Funny Girl” above because this category features its only nomination, and I am glad to see Grimes singled out. I will also note that I love John-Andrew Morrison in “A Strange Loop” and it was hard for him to stand out in the six excellent performances being given by Usher’s Thoughts (L. Morgan Lee was also recognized in Featured Actress). For me, though, this award has gone to Matt Doyle in “Company” from the first time I saw his bravura performance of “Not Getting Married Today” as Jamie (changed from Janie in the original) less than a week before Broadway shut down for the pandemic. I’ve seen it twice since and he never fails to dazzle me with his ability to make the lyrics so clean and acted out so clearly – while going so incredibly fast.

Featured Actress in a Musical

Jeannette Bayardelle, “Girl From the North Country”

Shoshana Bean, “Mr. Saturday Night”

Jayne Houdyshell, “The Music Man”

L Morgan Lee, “A Strange Loop”

Patti LuPone, “Company”

Jennifer Simard, “Company”

I’m glad to see L. Morgan Lee and Jennifer Simard recognized in this category, but Patti LuPone is just SO GOOD as Joanne in the revival of “Company” I would be unable to resist casting a vote for her.

Leading Actor in a Play

Simon Russell Beale, “The Lehman Trilogy”

Adam Godley, “The Lehman Trilogy”

Adrian Lester, “The Lehman Trilogy”

David Morse, “How I Learned to Drive”

Sam Rockwell, “American Buffalo”

Ruben Santiago-Hudson, “Lackawanna Blues”

David Threlfall, “Hangmen”

Look at this category – seven nominees! All three actors from “The Lehman Trilogy” are nominated, which might split votes and lead to none of them winning (although I could see Simon Russell Beale doing it). Sam Rockwell fully inhabited the character of Teach in “Buffalo.” But my vote would go to David Morse in “How I Learned to Drive.”

Featured Actor in a Play

Alfie Allen, “Hangmen”

Chuck Cooper, “Trouble in Mind”

Jesse Tyler Ferguson, “Take Me Out”

Ron Cephas Jones, “Clyde’s”

Michael Oberholtzer, “Take Me Out”

Jesse Williams, “Take Me Out”

Six nominees in this category, and no clear favorite. I would probably vote for Michael Oberholtzer in “Take Me Out,” although again, you have three nominees from the same play which might split that vote and lead to another actor taking the award.

Leading Actress in a Play

Gabby Beans, “The Skin of Our Teeth”

LaChanze, “Trouble in Mind”

Ruth Negga, “Macbeth”

Deirdre O’Connell, “Dana. H”

Mary-Louise Parker, “How I Learned to Drive”

All worthy performances, but I will be shocked if Mary-Louise Parker doesn’t win for “How I Learned to Drive.”

Featured Actress in a Play

Uzo Aduba, “Clyde’s”

Rachel Dratch, “POTUS”

Kenita R. Miller, “For Colored Girls Who Have Considered Suicide/ When the Rainbow Is Enuf”

Phylicia Rashad, “Skeleton Crew”

Julie White, “POTUS”

Kara Young, “Clyde’s”

I put the picture of the “POTUS” Playbill above because two in the ensemble were nominated here. By the way, I agree with the recent article in The New York Times that the Tonys need an ensemble category – none of the wives in “Six” were nominated singly but as a group they might have won. I might vote for Rachel Dratch in “POTUS,” or Uzo Aduba in “Clyde’s” – but anyone could win here.

Revival of a Musical

“Caroline, or Change”

“Company”

“The Music Man”

I would vote for “Caroline,” but with it having been a limited run and closing just after New Year’s, sometimes it is harder to stay fresh in the Tony voters’ minds. If so, then I think “Company” will win – although it is possible that Marianne Elliott might win (deservedly) for best director and “Caroline” win for Best Revival.

New Musical

“Girl From the North Country”

“MJ”

“Mr. Saturday Night”

“Paradise Square”

“Six: The Musical”

“A Strange Loop”

Until “A Strange Loop” arrived this spring, my vote would have been for “Six,” which I saw twice before the pandemic and have seen three times since. But having seen “A Strange Loop” twice now this spring, it would have my vote for Best New Musical without any hesitation. I also hope that Michael R. Jackson, who has been working on this musical for about two decades, wins for best book of a musical. It is possible that “Six” might win for best score. “Girl From the West Country” also has some critical acclaim so I would say it is likely the only dark horse if this win doesn’t go to “A Strange Loop” or “Six.”

Notable Snubs

As mentioned before, the revival of “Funny Girl” garnered only one nomination, for Featured Actor. “Plaza Suite,” the revival of Neil Simon’s play starring Sarah Jessica Parker and Matthew Broderick, had no acting nominations. The lead of the revival of “Company, ” Katrina Lenk, was not nominated for Lead Actress. I don’t necessarily disagree with these snubs, but I would have liked to have seen “Flying Over Sunset” – flawed as it was, it also was often quite brilliant and certainly original -nominated for Best Musical over “Mr. Saturday Night” and “Paradise Square.”

The Tony Awards will be held at Radio City Music Hall on Sunday, June 12, starting at 7pm on Paramount+ and continuing from 8-11pm on CBS. Hosted by Ariana DeBose, recent Academy Award winner and Broadway veteran, look for an abundance of musical numbers as Broadway hopes to lure the casual theatre-goer back. Whether casual or devoted, go support the Broadway community, so integral to the very spirit of New York City, and don’t forget the established productions that have made it back from the pandemic as well!

Top of the Rock – Sun and Stars

Published on by juliebrannanLeave a comment

I have blogged about going to One World Trade Observatory, to the Empire State Building Observatory at sunrise, to The Edge at Hudson Yards, and to the new kid on the block, Summit at One Vanderbilt (comparing day and night visits). There’s one last observatory to mention, Top of the Rock at Rockefeller Center. I went once during the day and again after dark, to see how the view changed. Here’s some information about going, lots of photos, and – at the end – my own thoughts on how all of these experiences compare.

You enter Top of the Rock from 50th Street between Fifth and Sixth Avenues. As you get checked in and head for the elevator, there are various facts about Rockefeller Center and about what you will see from the observation area (some, like the exact number of taxis and people you will see, seem unnecessarily and inaccurately precise!).

There are three observation decks, inside on the 67th and 69th floors, and then an outdoor deck on the 70th floor. This outdoor deck has stone barriers to above waist level, but then no obstructions to open air and open views.

One of the advantages to not being on the Empire State Building or One World Trade, of course, is being able to see the same!

While the daylight views were enjoyable, to me the real magic was going back at sunset and watching the lights come on as night fell on New York City

The experience of being there and witnessing the city’s transformation can’t really be conveyed in words and photos. The best I can do is this series of photos showing the Empire State Building first in a shot taken during the day and then in several more beginning at twilight and ending at full darkness:

Which observation experience is the best? Hey, I loved them all! If you live here, don’t think you are above going to one of these to have a great time; and if you are visiting, try to work in a few different ones if you can. The Edge and SUMMIT One Vanderbilt are certainly the “cool kids” of the bunch. One World Trade has the best “reveal” – the elevator ride up is an integral part of the experience, and then the way you first see the view is in fact breathtaking. The Empire State Building is the classic of course, with the disadvantage that you can’t actually see the Empire State Building while on it! Top of the Rock is a classic and you can see all the iconic buildings from it. One World Trade is far south, so a better view of the Statue of Liberty but a more distant view of the midtown skyscrapers. The Edge is far west, which is why the primary views are oriented east and south. SUMMIT, Empire State Building, and Top of the Rock are all in midtown, so your views are more balanced in all directions. And The Edge and SUMMIT have the most fun “experiences” – especially, I would say, SUMMIT, which is basically an immersive art experience with views.

Finally, there is the issue of going during the day versus at night. I suppose you could argue that you “see the city better” during the day, but to me, the city transforms into its essential self when the unbiased glare of the sun is removed. Then New York City is allowed to show itself as it wants to be seen – lighting what it wants lit, leaving in darkness what it prefers to hide. To love the city as I do means being able to do the same on a daily basis – choosing to see this place as its essential essence and in the light of my own romanticized gaze. The romance of seeing the lights of the city at night from a lofty perch is a win in my book – who wants to go with me?

A Day In Napa

Published on by juliebrannan1 Comment

I love living in New York City, but love travel as well. Over the past decade I have become more and more enamored with California – such a delicious change from NYC! Most of my trips to California have been to So Cal, although I have been to San Francisco several times and once enjoyed a delightful drive along the Pacific Coast Highway from Santa Cruz to Los Angeles. However, until recently I had never gone to an area I have always had on my desired travel list – Napa Valley. And I love wine! I have no idea why it took me so long, but a few months ago I finally did it, even spending a birthday visiting three wineries and experiencing tastings. Was it worth it? Spoiler alert: a thousand times yes! I’ll post photos of what I did in case it inspires you to make such a trip. It also allows me to relive the experience until I can get back there.

My companion (my daughter!) and I drove to Napa from San Francisco (this was a side trip as part of a longer vacation in SF). The first day there we walked from our hotel (River Terrace Inn) along First Street and enjoyed walking into shops as well as visiting two tasting rooms. Vineyard 29 tasting room had a cool elegant vibe, delicious wines to taste, and gorgeous comfy green velvet couches to lounge on while tasting.

Mayacamas Tasting Room was a nice atmospheric change from Vineyard 29 – this felt a little darker, like being in the cellar at a winery. Our server spent a lot of time discussing the qualities of the soil and the process of fermentation.

Despite a foggy day, cocktails at the Archer Hotel Sky + Vine Rooftop Bar provided a wonderful way to start winding down. The Archer Hotel also has the delicious Charlie Palmer Steakhouse for a hearty dinner to balance out all the alcohol!

The next morning it was my birthday, and time to head out into the vineyards on what was a spectacularly clear and sunny day. It is possible, but unlikely, that you can get a day-of wine tasting at the most popular wineries, so my recommendation is to reserve well in advance (several months is not too soon!). Tastings are never free, but trust me, the experience will be worth the cost. We had a fairly hearty breakfast, and then our first Uber driver arrived. As an aside, there are several choices for transportation to wineries. You can of course take your own car, but unless someone in your group is abstaining from the tastings, this is not a safe option. You can hire someone to drive your car all day for you, or hire a car and driver for the day, or use ride share apps individually from each stop. The first two of those options are pricey, and the third can lead to delays if you can’t find an Uber/Lyft right away and you have your next appointment coming up. My daughter, who for my birthday gift had reserved all the tastings (keeping our itinerary a surprise!), also pre-booked Ubers to fit our schedule and it was the perfect solution. Each driver was waiting for us every time we finished at one place and were ready to go to the next.

The first stop of the day was Silverado Vineyards, founded by Ron and Diane Miller and her mother Lillian Disney (Walt’s wife) and still run by third and fourth generations of the family. This was a gorgeous estate, and after being welcomed with a glass of rose’ we had a few photos taken on the terrace overlooking the vineyards. Then we went into the tasting room, which had the vibe of a luxe yet cozy club, with a roaring fire, and a private table next to a window looking over the vineyards. The initial tasting was set, but over the course of the tasting our guide spent a lot of time discovering our personal taste and bringing us additional selections. I loved it here and was sad to go. I did order some wine to be shipped home, and it arrived surprisingly quickly (in less than a week).

The next appointment was for Stag’s Leap, the winery that put Napa on the international stage when its Cabernet Sauvignon won the judgement of Paris in a blind taste test in the 1970’s. Caution: be careful to look for Stag’s Leap rather than Stags’ Leap if you want the famous Cab! We heard the interesting story of the legend of the notch in the surrounding hills and the white stag that leapt over it, as well as the litigation that led to the decision that the area is named based on this legend and so it was not possible for Stag’s Leap to prevent another vineyard from using a deceptively close name. Since then, the two vineyards have become friendly and even released a joint wine named the Accord. Stags’ Leap makes a great Petite Syrah, but if you are looking for the Cab that beat French Bordeaux when no one believed the United States could make a world-class wine, you want Stag’s Leap.

The Fay tasting room is on ground level, so rather than looking off to the vineyards, you are looking directly at their Fay vineyard. Stag’s Leap has two areas with very different soil and drainage, S.L.V. and Fay. The tasting includes selections from both, including Heart of Fay, from the vines you are looking directly at. Our guide allowed us to go outside and walk to the edge of the vineyard while holding a glass, and it was wonderful to have that sense of place, tasting the end result of a process that started on the very ground you stand upon.

Our final stop of the day was Darioush. I loved how each of the vineyards we visited that day had a unique feeling and created a different experience. The exterior of Darioush feels like being in a fabulous European ruin! We were given a taste to enjoy while standing out among the vines, and then headed through cellars where barrels of wine were aging, into rooms with some of the owner’s acquisitions of great bottles from vintages around the world, and finally into an underground cozy room where we had a wine and cheese pairing. This was one of many different kinds of experiences offered at Darioush, and I truly enjoyed learning about the various pairings and how the right wine and cheese pairing compliments the experience of both.

What a splendid day, and an extremely memorable and enjoyable birthday! What took me so long to go to Napa? Don’t delay as I did if you enjoy wine and gorgeous surroundings. I definitely look forward to going back, as well as to trying Sonoma and perhaps even the Williamette Valley in Oregon for Pinot Noir tastings! Robert Louis Stevenson said “Wine is bottled poetry,” and who doesn’t want to drink a poem every now and then?

Sondheim at NYPL: “No One is Alone”

Published on by juliebrannan1 Comment

When Stephen Sondheim died on November 26 of last year, we lost a towering figure in musical theatre. The New York Public Library for the Performing Arts at Lincoln Center quickly put together a pop-up installation of some of his correspondence from their archives, which proved to be so popular that they have recently enlarged it, adding set models from several of his musicals, and highlighting Sondheim’s interactions with collaborators. This exhibit will be on display through February 12, and if you are able to stop by, I believe it is well worth it (as with everything at the library, there is no charge). To me, the most interesting aspects were the way his playfulness and humor showed up in his correspondence with others. It’s easy to be so intimidated by someone’s talent that they seem more than human, but in this exhibition Stephen Sondheim’s personality and humanity shone through.

If you have never visited the Performing Arts Library, you need to put it on your radar. They often have very informative and entertaining displays about various areas of the performing arts. They also hold panel discussions and interviews with well-known artists. They are located just to the south of Lincoln Center Theatre. Bookmark their website!

The photos above show some of the additions made to the original display of Sondheim’s correspondence. The library has an interactive screen that allows you to go through and look at Playbills and production notes from many Sondheim musicals. In addition, they had an early design for a tree for Into the Woods, as well as early design sketches and models for the set design for Company and Follies.

On a screen, images of Sondheim with his collaborators, going all the way back to Gypsy and West Side Story, rotate through candid photos over the years.

The real heart of the display continues to be Sondheim’s correspondence, however.

Look at this thank you note to Broadway lyricist Betty Comden and her husband, “just A note” included!

I loved the personality shining through these notes to playwright Peter Stone and his wife, Mary. Given the date of the one on the left, he was presumably referring to A Little Night Music. After asking them whether they had seen it, he added,” If you adored it so much that you can’t keep away, come again as my guests. And if you didn’t like it, f*** off. Love, Steve.”

Here you can see lyrics written by Michael John LaChiusa in honor of Sondheim’s 80th birthday, and a congratulatory letter from Richard Rodgers to Sondheim on the opening of Company, with Sondheim’s reply (“no letter I have received on the show has meant more”).

I love these notes. In the upper right, he expresses thanks for the gift of a diary from Hal Prince and his wife, Judy, and then claims “I plan to do nothing whatsoever this year. Again.” In the upper left, he thanks them for a wire but says ” . . . we did get mugged. Surprise.” (Presumably, given the year, a bad review for Sunday in the Park with George?) And at the bottom, to Hal alone, notes on Sweeney Todd, which would have just opened a week before. After noting that the pies in the second act should look baked, and that the books coming down the chute when trying out the “special” barber chair should match the ones put in, he claims he dares not risk Hal’s wrath by giving the notes directly to the stage manager.

Stephen Sondheim won eight Tony Awards and a Presidential Medal of Freedom, and has theatres named after him in both New York City and London. He died at the age of 91 on a Friday, after having seeing both a matinee and an evening show on Broadway on Wednesday, and celebrating Thanksgiving with friends on Thursday. A few days later – on a Sunday – the Broadway community gathered on the red steps in Times Square to celebrate his life (I was there, and posted a clip on Instagram that you can see here). As they sang “Sunday” from Sunday in the Park with George the word that rang out was “forever.” Just as the people immortalized in the painting “A Sunday Afternoon on the Island of La Grande Jatte” by Georges Seurat will be viewed forever, Stephen Sondheim – the icon, and the man – has changed musical theatre and will be remembered with respect and affection forever.

A look back at NYC filming locations for West Side Story (2021)

Published on by juliebrannanLeave a comment

I saw the new 2021 remake of West Side Story last week, and it made me think of when they were shooting some exterior scenes in Harlem. This was in the “before times” – before COVID-19 lockdowns and restrictions -in the summer of 2019, July 13 and 14th. It was hot when they were shooting “America,” with temperatures in the 90’s. They had (I believe) wrapped that scene earlier on July 14th, and it was shot on St. Nicholas Avenue between 111th and 113th. As with most shots on location, when not actively filming, you are free to be in the area and look at exterior sets and equipment.

Old-fashioned telephone booth.
Partially covered set pieces; vintage magazine rack.
Gorgeous old cars!
How they get those fantastic shots zooming up over the dancers!
Equipment.
So difficult to shoot on location, but the result is worth it!

On E. 131st between Fifth and Lenox, there was signage about demolishing buildings to make way for Lincoln Center:

The film was enjoyable on so many levels, one of which being seeing so many Broadway stars on the big screen. Ariana DeBose (“Anita”), from the original company of Hamilton and on to A Bronx Tale and Summer; Mike Faist (“Riff”), from the original cast of Newsies to Dear Evan Hansen; even Brian d’Arcy James (“Officer Krupke” – unfortunately not a singing and dancing role!). with a long resume including Next to Normal, Shrek the Musical, Something Rotten!, and Hamilton. Sentimentally, my favorite was David Alvarez (“Bernardo”), who won a Tony Award in 2009 as one of the three original “Billys” in Billy Eliott the Musical. I remember taking my daughters, who were a little younger, to meet and have things signed by the three young men. It’s fantastic to see him giving such a vivid performance now as a grown man on the big screen.

Looking back on these photos, two-and-a-half years ago but feeling like much longer, it’s clear that the 2021 release of West Side Story involves not only time travel back to the time of the show but also to the time of the filming. Even now, with the film in theaters only, not everyone feels safe seeing it on the big screen with vaccines giving protection but a new variant of COVID-19 running rampant. When you can see this version of West Side Story, however, I do recommend you check it out as I greatly enjoyed it.

SUMMIT One Vanderbilt, day and night

Published on by juliebrannan3 Comments

When One Vanderbilt, a commercial office building next to Grand Central Terminal in midtown Manhattan, was completed, it soared to 1,401 feet and became one of the tallest 30 buildings in the world. So – of course they had to create a public observation area! But, with the icons like the Empire State Building and Top of the Rock, and newer competitors like One World Trade and The Edge at Hudson Yards, certainly the developers realized they needed to do something a little different when they opened last month. Having been twice, once during daylight and once after sunset, I can affirm that they succeeded in doing just that with SUMMIT at One Vanderbilt.

To get there, enter just to the east of the Grand Concourse at Grand Central Station. At this point (November 2021), there is a vaccination check before seeing a brief film and getting booties to cover your shoes (the reason for that becomes pretty clear once at the observation area). After scanning your tickets, you have two photos taken – one of your group as well as an individual photo of each. All digital photos are linked to a wristband with a QR code that you wear while experiencing SUMMIT.

You go up to the 91st floor in a very fast elevator, and immediately see what is different about SUMMIT once you walk onto the first observation floor. There are floor to ceiling windows and you walk on mirrors (when you reserve, they do recommend that you not wear a skirt, for pretty obvious reasons!). The experience of seeing up and down, seemingly endlessly, is striking.

And what can you see? First is a picture-perfect view of the Empire State Building to the south, and much farther south, One World Trade at a distance. To the east, you look DOWN (a bit disconcerting!) onto the Chrysler Building, and to the west you can look down onto the New York Public Library and the skating rink in Bryant Park, over Times Square, and toward Hudson Yards. To the north, you see Central Park and the super-talls on Billionaire’s Row. You can see the Statue of Liberty, and every bridge, from the Verrazzano-Narrows to the George Washington.

And for bonus activities, there is a room with Yayoi Kusana’s Clouds sculptures, a place to get your picture taken stepping out over the side of the building onto clear glass, with clear glass all around you (called, natch, Levitation), and a very trippy room filled with floating silver mylar globes called Air by Kenzo Digital (see some videos of what that is like here).

When you go up one more level, you can see down to the people entering on the mirrored floor in addition to seeing the views from one level up.

One more level up has a Danny Meyer cafe as well as an outdoor observation deck with clear barriers but open to the sky above.

Of course there is a gift shop!

But what is it like at night, and with the Ascent elevator and enjoying a signature Danny Meyer cocktail? I was back two weeks later for the entire experience.

I found the experience to be much more exciting and beautiful at night, so much so that I feel just posting some full-sized photos is enough to make my point.

I mean, a full moon didn’t hurt! Also, this time I was able to catch my face in the clouds (below), triggered by scanning your wristband and linking the individual photo you took earlier to a moving cloudscape in one of the rooms.

But what of the Ascent elevator? See above, for an extra price, you can stand in a clear glass elevator perched on the side of One Vanderbilt, go up even higher, have 90 seconds to take photos, and come back down. There is an enhanced ticket that you can get that includes the experience, the Ascent elevator, and a Danny Meyer cocktail (menu seen in a photo collage above). Did I enjoy the cocktail (I got the margarita) – of course, it was delicious! But do I think you necessarily need to pay for the Ascent plus cocktail to enjoy yourself? No – if you need to save a little money, just do Summit without any add-ons. Speaking of cost, tickets cost more at night than during daylight, with an extra surcharge for sunset times. There is a $5 per ticket discount for NYC residents. Find out more here.

I read a review of SUMMIT recently in Curbed (read it here) that called it “a ridiculous experience” and said it can’t replace enjoying NYC from ground level. Frankly, I think that misses the point. Of course the quintessential way to experience the city is to walk it (my first post was about just that). That doesn’t mean that it isn’t also tremendously enjoyable and exciting to see the city in a different way – and SUMMIT is a very different experience. Whether you are a New Yorker looking for a fun new sensory trip, or a visitor wanting to add to the ways NYC can wow you, I don’t think you will be disappointed if you decide to give SUMMIT a try.

The Academy Museum in Los Angeles

Published on by juliebrannanLeave a comment

For as long as I can remember, I have enjoyed watching the Academy Awards on television every year – filling out a ballot (sometimes with a little wager involved), having a party, and dishing with friends and family starting with the red carpet arrivals through the bitter end of a ceremony that usually ended late enough to make getting up the next morning on Eastern time challenging. So when I heard that the new Academy Museum was opening just before a planned trip to Los Angeles, I purchased required timed tickets. And when I saw there was a virtual experience where you get to receive an Oscar, well, there was no way I would pass that up! I usually blog about NYC, since it’s where I live and work, but who doesn’t love the movies? Since it’s a new museum, it might help others to see my experience of visiting the Academy Museum in October of 2021.

We are still dealing with Covid, the first step was to show proof of vaccination and get a wristband showing you had been checked. Masks are required at all times as well. Then another check in to prove the timed tickets and get a second wristband to allow access to the areas of the museum beyond the ground floor, which is free to enter. The outside of the museum is gorgeous, the site of an old department store in a classic mid-century LA style. Behind it, a fabulous new annex holds theatres as well as an outdoor domed space with panoramic views of the Hollywood Hills – including the sign. To avoid having others in my photos, I went straight up to this level at museum opening.

This area is breathtaking, and I have no doubt that this part of the museum is going to become an iconic part of LA. To get from the main building to this area, you cross over the Barbra Streisand bridge, just past a display honoring women in the film industry from the early days to the present.

Hanging from above, a model of “Bruce,” the shark from Jaws . . .

There will be some permanent exhibitions, and other temporary ones. There is a temporary exhibition now that allows you to enter the world of Hayao Miyazaki. No photography was allowed in the exhibit, requested by Miyazaki, but it was delightful. In addition to storyboards, videos, and details about how films were made, there was a place to recline and look up to a beautiful animated sky, and another to rest under the lighted tree spirits of Totoro.

On the same floor, you could see a zoetrope with a scene from Toy Story. A zoetrope illustrates how individual photos (or in this case, actual figures) can give the illusion of continuous motion (see the entire sequence here.)

Another exhibition highlights the importance of backdrops, using the famed fake Mount Rushmore backdrop for the end of Hitchcock’s North by Northwest. The exhibit also uses this as an opportunity to explore the issues involved with the monument itself and how it has been viewed by Native Americans for whom this area was of significant religious importance.

Another exhibition explores the development of moving pictures, from early attempts of entertainment using shadow play, through magic lanterns and peepshows through the Cinematographie Lumiere, the first successful film projector.

The foundational exhibit at the Academy Museum is Stories of Cinema, and it spans three floors of the main building. Items on display here will likely change over time, but are guaranteed to deliver an almost-overwhelming “wow” factor!

These artifacts generally need no description whatsoever, but there is always interesting background information included.

There were several “Rosebud” sleds used for the making of Citizen Kane, but several had to be burned for the final scene, so this remaining one is certainly one of the most famous artifacts at the museum.

There is a room with famous Oscars, and, poignantly, an empty space for Hattie McDaniel’s Best Supporting Actress award from 1939. She had to sit separately from the rest of the cast of Gone With the Wind because of segregation, and her Oscar has been lost.

There is also a room featuring Oscar acceptances, with a rotating series of videos of famous acceptance speeches.

Perhaps THE most famous display shows the ruby red slippers worn by Judy Garland in The Wizard of Oz. This display is surrounded with a wealth of other items from the movie.

The two gingham dresses, one in sepia tone and one in color, were used for the scene where Dorothy transitions from the real world, in sepia, to Oz, in color. Shot in one continuous scene, a stand in for Garland wore the sepia dress, was shown from behind, and opened the door. At that point Garland, wearing the blue dress, stepped into colorful Oz.

Spike Lee has loaned the museum his extensive collection of memorabilia.

Hitchcock’s Psycho is one of my favorite films, so I particularly enjoyed this shower scene storyboard and other materials, including Hitchcock’s own first edition of Robert Bloch’s book.

There is an elaborate display of movie costumes in one room (here, from Gentlemen Prefer Blondes, Jordan Peele’s Us, and Rocketman).

The gift shop has an abundance of unique items. I like the logo on their tote bags, hats and shirts, featuring the look of the outside of the museum. There were paper clips shaped like Oscars, and even candles that supposedly evoke the scent of different movies scenes and types (POV: You’re the Villain was my favorite trope if not my favorite scent!).

And what of the OSCAR EXPERIENCE???? Well, I loved it. The staff helping explain the procedure remained in character, congratulating me for my win. You basically get to come out, look out to a full audience and pick up a real Oscar, and get a video of the experience afterwards (see mine here). I really found myself surprisingly thrilled by the experience (the tech person watching me from outside the filming area told the person I was with that I was channeling Sally Field, lol). Well worth the extra $15 to me – and when I win a real Oscar one day, maybe I will have learned to play it a little cooler . . .

If you want to visit the Academy Museum, get timed tickets and more information here.

Broadway Reopening

Published on by juliebrannanLeave a comment

I’ll never forget hearing on March 12, 2020, that Broadway was going to be shut down until the week of April 13th. It seemed inconceivable to me that it could be true – after 9/11 it was shut for two days, and here and there a blizzard would shut down shows for a day. The idea that there would be no Broadway theatre for over a month was stunning. If someone had told me at that point, as I struggled to process this unprecedented shut down, that in reality Broadway theatres would be closed for at least 18 months, I would not have been able to believe it (or, perhaps, take it). Even when I was taking photos in an entirely empty Times Square that spring (the experience of which I wrote about in this blog post), it still seemed impossible to believe that Broadway, the heart of NYC’s pulsing vitality, would be shuttered for so long. But now the sleeping beauty is waking up, and it’s exhilarating. This is my perspective on Broadway’s reopening, as of the end of September, 2021.

The first time I walked into a Broadway theatre was to see a Disney on Broadway concert (Live at the New Am) at the New Amsterdam theatre. Vaccination checks were in place before the normal security screen. To hear the sound of a ticket being scanned was a delight. When the usher (above) declared “Welcome back to Broadway!” it was almost too emotional. The concert was fantastic, and so many lyrics of Disney on Broadway songs took on new meaning and the performers and audience reacted (for instance, “In the First Time in Forever,” the following: There’ll be actual real live people/It’ll be totally strange/But wow, am I so ready for this change!/’Cause for the first time in forever/There’ll be music, there’ll be light.

The first Broadway play to open after pandemic shutdown was the new play Pass Over, by Antoinette Nwandu. The opening night of previews, August 4, the crowd stood and applauded with stage manager Cody Renard Richards made the preshow announcements (you can see his experience here). After the first preview, the block of West 52nd between Broadway and Eighth was closed off and there was a jubilant block party with DJ.

The next time I was in a Broadway theatre was the Majestic, to see the premiere of a documentary about the Broadway shutdown and a few touring companies that managed to stay open in South Korea. The entire experience was terrific, from being welcomed with Josh Groban singing “Can’t we start again please” (from Jesus Christ Superstar), though the film. But when the end credits were over, the screen rose to reveal the iconic Phantom’s lair, and a bevy of Broadway divas (including Adrienne Warren, Ariana Dubose, and Sierra Boggess) singing “As If We Never Said Goodbye” from Sunset Boulevard.

On September 2, the first Broadway musicals reopened: Waitress, with composer Sara Barielles stepping back into the lead for six weeks, and reigning Tony Best Musical Hadestown. I was at the first night for Waitress, and enjoyed the sticker on the front of the playbill saying “The Diner is Re-Open” along with the date. The audience gave a standing ovation (the first of perhaps 10 or 12 that evening) for the “turn off your cell phones” announcement – which at Waitress is a song. After initial bows, Amanda Kloots, the widow of original cast member Nick Cordero (who lost his battle with Covid-19 last year) came on the stage and everyone sang Nick’s song “Live Your Life.” His song is now also permanently included as one of the pies on the menu board on stage.

I was at the third reopening performance of Hadestown, and loved that their Playbill lists reopening night as well as opening night. The outside of the theatre is enrobed in the red flowers that feature so prominently in the production. Here they represent that “spring will come again” to Broadway as it returns and flourishes.

On September 14, Hamilton, The Lion King, Wicked, and Chicago all reopened. At 5PM that day, casts met in front of the Richard Rodgers Theatre and, led by Lin-Manuel Miranda, delivered a rousing version of “New York, New York.”

Two days before that, however, I had been very fortunate to be allowed to attend the final dress rehearsal of Wicked before reopening. These invited dress performances are not for purchase, and allow the show to run through with costumes, lighting, etc., with a crowd of friends and family. These are always special (I have been to a few) in part because what elicits applause is often very different for these crowds of insiders. I was able to compare that directly when I also attended the first reopening performance of Wicked on September 14. The audience for this was electric, from Kristin Chenowith’s welcome (including a witty “There’s no place like home!”) through bows. After the curtain came down and the lights went up, the audience refused to leave, however, applauding and standing for minutes until the curtain rose again. This time the cast was joined by composer Stephen Schwartz, who seemed unsure whether to say anything before finally stepping forward – almost to be hit by the curtain coming down!

I was at Hamilton at the second reopening performance on September 15. The cast is tight, and the energy level high. I could tell that the conductor was trying to prevent protracted applause from drawing out the show, however, as we can’t keep having shows that go three hours or more when they should clock in at 2 hours, 40 minutes!

Then I was at the third reopening performance of The Lion King. The energy level was still very high, and I liked the Welcome Back insert with an invitation to give feedback.

That weekend, September 17-19, Times Square hosted a huge outdoor welcome back to Broadway, with some performances at the large mainstage, and others at a more intimate outdoor cabaret space. The final two hour concert on September 19 featured most of the shows open or that will open this fall. A highlight was a performance of “Music of the Night” with the current Phantom as well as three previous ones.

That same weekend I went to see David Byrne’s American Utopia, which I had seen four times pre-pandemic at the Hudson Theatre. Now at the St. James, some of the narration has changed to reflect our changed times (his words “Thank you for leaving your homes” has an entirely new significance now!) but the joy and uplifting message remain the same.

On September 21, I was back to see Six, which I had seen twice in previews – and which was hours from opening night when Broadway was shuttered. Now back in previews as of September 17, all six original Broadway queens are back, and the energy level is always high at this show! I loved that they had a “virtual stage door” QR code, since normal stage door interactions and signing of Playbills is not prudent in terms of Covid protocol.

So, speaking of Covid, how is Broadway different due to the need to keep us as safe as possible? First of all, to attend a Broadway show you must show proof of full vaccination and a photo ID to match. Because of this, arrival times need to be earlier than usual. Doors always opened on Broadway about 30 minutes before showtime, but now are opening from 45 minutes to an hour early to allow for vaccine checks as well as the normal security screening. Then, you must wear a mask at all times while inside. Theatres I have been to so far all have “Covid safety teams” and I have seen them roaming the aisles to monitor and ask people to raise their mask when necessary. Meanwhile, every person on Broadway has to be vaccinated, wear masks when possible (obviously it’s not possible for performers on stage) and get tested regularly.

But isn’t any inconvenience worth it??? The exhilaration of being in an audience with other people, experiencing the live performance of these talented people, experiencing emotions together – this is unique and its absence left a huge void during those 18 months away. Even walking home after a show, I have had that thrill of having had somewhere to go, something to do, with other people, after so many nights watching “Bridgerton” or “Tiger King” and trying to set up zoom cocktail parties with friends. Please go and support live Broadway performances! We need it, as a city and as individuals – and they need us.

Showstoppers! Broadway Costumes Exhibit

Published on by juliebrannan1 Comment

As Broadway reopens after 18 months of pandemic shutdown, there is an exhibit on West 42nd Street that highlights the incredible costumes that light up the stage (and screen). Open through September 26, tickets are required (go here for more information and to purchase) but proceeds go to help the talented people in the costume industry whose financial stability has been devastatingly impacted by the shuttering of the entertainment business. Here are my impressions from going a few weeks ago.

For a time-limited exhibition like this, I thought the layout and design was excellent. The exhibit aims to teach the observer about the work and design elements going behind these elaborate costumes, while giving the opportunity to see the details of the costumes up close.

Here you see costumes from the Broadway productions of The Cher Show (Bob Mackie), Side Show (a particularly challenging costume) and Six (which was going to have opening night on the very evening that Broadway was shuttered).

Disney productions are represented here: Aladdin, The Lion King, and Frozen.

Wicked – it’s interesting to see Elphaba’s costume up close and see that it is not a matte black. Adding texture and some subtle color gives the dress depth on the stage.

Costumes from Moulin Rouge, Chicago, and Cursed Child (Draco Malfoy).

Hamilton! I was fortunate to be able to go backstage before pandemic and see some of these costumes up close then. Apparently Lin-Manuel Miranda asked for Alexander Hamilton’s costume to be “the color of money” and after several tries this iconic green silk was confirmed. Being able to make the ensemble’s costumes able to dance in – without looking like stretchy dance clothes -is a particular challenge for most Broadway costumers.

I have also been backstage at Phantom and seen the costumes at close range. For solid black or white costumes like these for the Phantom and Christine, texture and small variations in color are used to keep them from appearing flat from the audience.

Costumes from non-Broadway productions were also highlighted. Here you see costumes from a cruise ship, from the circus, for a Broadway Cares production, from dance, and the iconic costume the Radio City Rockettes wear in the March of the Wooden Soldiers.

The exhibit also highlights the importance of cleaning and caring for costumes, with many from films being preserved since, unlike on Broadway where costumes wear through and are replaced constantly, a film is limited in time and requires fewer repairs or replacement of the costumes.

The exhibit ends on a positive note, with Broadway reopening happening on a rolling basis throughout the fall.If you are able to see the costume exhibit, it may improve your enjoyment of the costumes you see from your seat as you return to a Broadway theatre!

Immersing Yourself in Van Gogh

Published on by juliebrannan1 Comment

Imagine living inside the bold colors, textures, and images of a Van Gogh painting – music swelling as the lush visuals move around you. It can be experienced rather than imagined, by going to the Immersive Van Gogh Experience in NYC through September 6 (tickets are limited and it seems to be sold out the last weekend, so act quickly), and in cities all over the United States and Canada over the next year. I went to the exhibit on the East River here in Manhattan recently, and some of my tips about visiting will be specific to the NYC exhibit while others are more general and should apply to other locations.

The NYC experience is at Pier 36 on the East River, closest to Montgomery Street and South Street on the Lower East Side, between the Manhattan and Williamsburg Bridges. The 75,000 square foot interior space was designed by Broadway set designer David Korins (Hamilton, Dear Evan Hansen), a collaboration unique to New York.

Tickets can be – and should be – purchased in advance, and prices range from $39.99-$69.99 depending on the day of the week and the time of day. Masks are required, and the numbers are limited to keep the experience uncrowded as well as covid-safe.

Before entering the immersive area, there is a reminder of the basic facts of Vincent Van Gogh’s life – his production, lack of success during his lifetime, and posthumous spectacular fame. When MoMA first reopened last year, it was eerily uncrowded, and I posted a selfie of myself in front of his “Starry Night” in part because you normally can’t get ever close enough to see it properly.

The first two rooms in the New York exhibit are smaller, and feature mirrored pieces designed by Korins to refract the larger projections on the walls and let you catch glimpses of yourself caught in the visuals. I noticed that many people got to the first room or two and stopped, and those rooms were more crowded as a result. My first tip would be that when you first enter, walk through the entire exhibit and see everything briefly before settling down to one spot. Also, visuals and music are on an about a 30 minute loop, so try to figure out where you are in the loop (if you see images from the asylum at Arles, with those crows of foreboding, you are near the end). Ideally you would see the entire “show” in one space, and in NYC the best space is the third gallery, which is enormous and has seating.

The third gallery in NYC also has an elevated platform, but my own personal experience was that being there felt less immersive that being on the floor. And what is the experience like? To me, I kept being reminded of an experience at the Rose Planetarium at the American Museum of Natural History (no longer offered, sadly) called “Sonic Vision.” That show featured music from Radiohead, Moby, and others, and the music at Immersive Van Gogh is mainly original music by creator Luca Longobardi, but ranges from Thom Yorke and Edith Piaf to Handel and Mussorgsky (see the Spotify playlist here).The somewhat overwhelming experience of being immersed in visuals with music is trippy – I used to say that going to Sonic Vision allowed me to go on a psychedelic trip safely without having to take drugs. There is an element of that here – but with somewhat of a storyline to the experience, and the knowledge of what Van Gogh’s life was like, there was an emotional depth to it as well. You can stay as long as you would like, but I would suggest you need at least an hour – the time you figure out the space before another loop of the experience begins, the entire (about 30 minute) presentation, and time to go back and take photos or see things you might have missed in the first walk through. You can go back and forth between the galleries.

There is an extensive gift shop as you exit, and not just Van Gogh related (not sure why “I’m glad you are as weird as me” candles were included), before you exit and find yourself right on the East River on Pier 36, walking along the back of the building to get back to reality. The real world is discernibly less vivid – but Van Gogh lived in the real world and was able to create gorgeous hyper-reality with his imagination, so the exhibit serves as a reminder to dream in color. I have no idea what Vincent himself would think of this exhibit, and I did wonder that a few times while there, but what would life be indeed, if we had the courage – as he did – to attempt anything?