London’s National Theater’s reimagining of the play “Top Girls”

Top Girls is a play in four acts written by Caryl Churchill who is considered by some to be the UK’s leading socialist-feminist playwright. Her works tend to explore topics such as gender construction (a topic that I’ve spent a lot of time teaching), sexual politics (a political theory named after a book that is obligatory reading for anyone studying feminism) and abuses of power. The production I saw was put on the London’s National Theater, and took some research to try to understand because of choices made by the director that resulted in confusion for people (like myself and my cousin) who had no knowledge of the play in advance.

First produced in 1982, and is set in 1980’s Britain, it is the type of show that tends to be done in smaller venues — or in US parlance, it’s the sort of off off broadway type of show that is intentionally NOT intended to be commercial, and as such in general will only appeal to hard core theater aficionados who like their shows to have a political message, and the actors performing the parts.

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Anyone who reads my blog regularly knows I advise everyone to check out the Txts booth in Leicester Square as a matter of course. One of the exceptions to this rule is anything put on by the National Theater. Their tickets should be purchased either online or from their box office, because they’re already government subsidized and are never discounted further.

Sadly, I completely forgot to take any photos for this play or of the theater… not even my obligatory one of me holding the ticket. There are however no shortage of press release images of the production on google (follow this link). In my defense, at the time I was suffering a serious case of the dizzies, was staying at my cousin’s (from my dad’s side) place way out the suburbs, when a cousin from my mom’s side informed me she was in London and suggested I buy tickets for this play and we could meet up there. I knew NOTHING about the show going in. Because of the dizzies, going there alone from his place out in the suburbs was not in the cards, so I convinced him to come along and he drove. As luck would have it, my other cousin was nowhere to be seen, and didn’t bother returning any of my txts till well after the show when we were well on our way back home.

The first scene of the play I found quite compelling. It involves the central character of the play — a modern British woman, Marlene, who’s just been promoted to the head of her office at a job placement agency, who is throwing herself a celebratory dinner party and has invited as her guests famous women of antiquity. (One is forced to wonder if maybe she has no real life friends to turn to because she’s been so focused on her work.) So not only did the play delve into issues of gender construction and feminist issues, but did so on a backdrop of women from different points of history, and different cultures… so RIGHT up my alley so to speak.

Her first guest to arrive is Isabella Bird, a woman out of history that would be familiar to most of Churchill’s British audience members, as they’re most likely the sort of highly cultured and educated sort who watch history shows on the BBC and probably attended University (like I said, off off broadway). This second character in effect is setting the scene for all of the following characters that might be less familiar to the show’s audience. For those who don’t know her (lord knows I did not, but my British cousin claimed he sort of remembered who she was) Bird was an independent woman traveller, writer and photographer from 18th century England. She was a prolific travel writer with 28 titles to her name, which include: The Englishwoman in America (1856) — her first hit book which was based on all of the letters she’d written home about her travels, and was followed by other like works such as Unbeaten Tracks in Japan: Travels of a Lady in the Interior of Japan (1879), and Among the Tibetans (1894) — that were again based on her letters home. Most of Bird’s titles are still in print, and her A Lady’s Life in the Rocky Mountains is even available as an Audiobook! This tells you relevant her works still are. Since her death, she’s had numerous biographies written about her, and has even has a series of Japanese manga about her called Isabella Bird in Wonderland, which focuses on her visit to Japan.

Her arrival in the play is shortly followed by the arrival of another historical figure, who is much more obscure, Lady Nijo, one of the Japanese Emperor’s concubines from 1271 to 1283, who later became a nun and wrote her autobiography. The book wasn’t a hit but had historical value, and as such one remaining copy (a 17th century printing) was discovered in the Emperor’s family library in 1940 and then republished under the titles The Confessions of Lady Nijo and also Lady Nijo’s own story; the candid diary of a thirteenth-century Japanese imperial concubine.  I searched Amazon and found these both of these titles still available for sale there, but no one biography.

The third guest was one I HAD heard of, Pope Joan. YES, you heard me, Pope JOAN (we don’t know what her actual name was)…  While the church denies that she ever existed, and to this day many historians discount her as myth, her story is well known and her possible existence helps to explain some weird things. Such as, there’s a VERY odd part of the Pope’s swearing in process — the existence of which makes no sense whatsoever, UNLESS she had existed. The story is that a woman fell in love with a priest, and was convinced by him to dress as a man and to join the church during the Middle Ages, so that they could stay together. Apparently she was so smart and capable, that she managed to rise to the top position (top girls anyone?), but had the bad luck to go into labor in the middle of religious procession. According to the character in the play, the robes helped hide her condition and folks just assumed she/he’d gotten fat. Her gender now discovered she either died in labor or was put to death, the play opted for killed. As a result, the whole path of that procession has been changed to avoid the street where she supposedly went into labor (one thing explained).  But the oh so odd part of the popes ritual swearing it helps explain, is that he has to sit on a contraption like a toilet seat with no bowl underneath, while he has his genitals inspected, to make sure they’re there… and more importantly, are of the right sort. Many people believe she was Pope John XX, which explains why this title is sometimes referred to as the missing pope (there’s nothing about that pope in the books, but the church has come up with a rationalization for the discrepancy)…

The fourth guest to arrive is, Dull Gret (also known as Mad Meg), a woman from Flemish folklore, who doesn’t have much to say, which makes sense as she’s a character from a 1563 oil-on-panel painting by Pieter Bruegel (the elder). In fact his painting of her, Dulle Griet, is one of his most famous works. Here she is depicted as a woman who is leading an army of other women in an attack on hell itself.

The final guest is another character from European folklore, Patient Griselda.  She was first written about by Giovanni Boccaccio (1313–1375) in his famous and influential work (I had to read it for a history class, it actually helped to spark a revolution) The Decameron. The story is by our perspective horrific. All British audience member should be somewhat familiar with her tale as one of the books Boccaccio’s work helped to influence was Chaucer‘s famous work, The Canterbury Tales, where she also appears. The basic story is that she’s a lower class woman married to an upper class man, attracted to her beauty, who over the years puts her through a series of horrific and mentally abusive tests of her patience and devotion to him… all of which she passes. At the end, her sufferings are rewarded. (It’s enough to make a modern woman gag.)

Once the dinner is over we are taken to the employment agency where Marlene works, and we meet her co-workers and some of the girls who are there applying for jobs. This scene is so incredibly different that it seemed like we were almost in a completely different play. It felt VERY disconnected. Later, after me and my cousin got home, I started researching the play and learned that in the original version, all the new characters that are introduced were SUPPOSED to have been played by the same actresses who had done the previous characters.

At this point the curtain comes down and the audience is released for an intermission. When we returned the next act, which at first seems to have nothing to do with what came before, and as such feels utterly disjointed. It’s two girls talking. And therein lays the problem with this production… Initially it was written so that the women who played the historical characters are then ‘re-cast’ into the modern day as other characters, and the fact that it’s the same actresses playing them helps to link the characters of the women we met before into these new modern day characters… Marlene is the only character that stays the same through the play.

In the later scenes we learn she is completely disconnected from her family. She and her sister no longer speak, and her sister’s child is biologically Marlene’s, who she had abandoned in order to become a “Top Girl.” All of which helps to explain the focused determination that got her there, but how that success had a cost in her personal relationships… which may be why when it was time to celebrate her achievement, her only companions were women from books and history.

However, because this production chose to expand the number of actors used, all of that subtext got lost. Both my cousin and I, who had never seen the original productions and knew nothing about the show going in, left the theater more than a bit confused. We debated it’s meaning the whole trek home to his place, and the next morning again over our breakfast. So if the point was to make us think, it was successful… but we both found ourselves independently going on to the internet to try to comprehend what we had just seen, because it was FAR from self evident based on the production.

To that end, while doing additional research for this article I found a BBC online University video that includes not just the entire play, but a preamble discussing it and an interview with the playwright. The downside of this video is that you don’t really get to enjoy the play and then hear a discussion of it, rather the ‘instructor’ inserts commentary right over the actors speeches…. which are hard enough to make out as one of Churchill’s favorite techniques is to use over-speaking…  multiple actors talking at once (the fact that she has the Japanese character doing this as well shows how little she understood Japanese culture, in my opinion).

I then found THIS 2nd rendition of it on Youtube, put on by a theater group in Seoul South Korea made up entirely of English speaking expats, of the ENTIRE play… all two hours of it.

But in this case it was recorded in a very low tech manner, so that you’ll need to strain to hear the actors … again.

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Theater in London’s West End, The production of the 2017 Pulitzer Prize winner, “Sweat” and accessibility issues in the Gielgud Theatre

I love London. My dad grew up there and my family spent so much time there during summer vacations — not to mention my semester at London’s Royal College of Art — that I feel it’s my second home. So, growing up we did most of the MAIN tourist things… so when I go there I tend not to aim towards those sorts of things any more than I would in home Chicago. For me, London is and always has been about theater! (My mom loved theater so much that she often took us to two shows a day, and occasionally crammed in three). One of the many shows I saw this year was, Sweat (2017, Pulitzer Prize Winner) staring Martha Plimpton of the Carradine theatrical royalty family (getting to see your favorite actors live on stage is always an added treat).

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So… I’ve said this before and I’m going to say it again … first rule of London theater is, as taught to me by my parents… unless there’s a specific show for which you’re willing to pay full price, you’ll want to start out by going to the Tkts Booth in Leicester Square…. London has a very competitive theater scene, just like New York, so anything showing in a major theater is most likely very good. On the way there you’ll pass any number of store front ticket booths advertising them as THE half price ticket booth… keep walking. None of them are. Their What’s on Sale screen, behind me in the picture above, will tell you what tickets they have that is on deep discounts (usually 30 to 50% off). You can also buy tickets for two days out… so tonight, tomorrow and the next day… but not farther out than that. You can check their website to see what’s available, but you can only buy the tickets at their booth. Half price tickets for the top shows are ONLY available either at the box office doors of each individual theater, where you stand in line on the day of up to time of seating, but with no assurance of actually getting a seat … or here at the TXTS booth. (How do you want to spend your vacation time?) Personally I haven’t got that much time. This way is easier, and profits from the ticket sales at this venue rather (than ending up in corporate or private pockets) go towards the Society Of London Theatre, which supports the theater community in a myriad of ways. (So you can feel good about your purchase). This show for instance had great reviews, but I was able to get the tickets at a discounted price, even buying them 2 days in advance.

Sweat: The Play — GREAT play, but in a bad theater space for anyone with mobility or hearing impairments 

UNADJUSTEDNONRAW_thumb_2f27.jpgSweat, the winner of the 2017 Pulitzer Prize for Drama, was my first non-musical this trip. Its a fictional play based around economic dynamics in the town of Reading, Pennsylvania in 2011, when the United States Census Bureau, declared that because of the loss of heavy industry to offshoring, it had become one of the poorest cities in America. It is a show that is both funny, and highly disturbing.

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I was looking forward to seeing it in large part because it was a chance to see Martha Plimpton, live on stage. I’d had the good luck to meet her (as in have an actual conversation with, back in 2006 while sitting on a tram at Disneyland waiting to go back to the parking structure — YUP, once again at a Disney park, there’s a trend here), and seriously enjoyed a lot of her large and small screen roles, but this was going to be the first time to see her on stage. That said, she did NOT let me down… granted, its the sort of role she tends to get cast into fairly regularly, a course working class girl or woman — so she’s had plenty of practice. This typecasting is ironic as she’s third generation acting royalty; her paternal grandfather was one of the best known character actors in Hollywood starting back in the 1930’s, the GREAT John Carradine. He was one of John Ford‘s go to actors, but was also in classics like the Grapes of Wrath and the Ten Commandments). Her dad is Keith Carradine (whose IMDB of roles in major films is as long as your arm) even those she chooses to go by the less known last name of her mother,  Shelley Plimpton (who is also a well respected actress in her own right) — probably to be better able to try to stand on her own merits. And, even her uncles, Robert Carradine, who was best known for his  Revenge of the Nerds series of movies, and the late David Carradine, who was best known for his lead role in the 1970’s TV classic Kung Fu, (and his ignominious death by autoerotic asphyxiation in a Bangkok hotel room’s closet in 2009) are/were both well known working actors. Even her aunt, Ever Carradine, is one of those actresses you instantly recognize even if you can not name her, and currently can be seen in Hulu’s major hit, The Handmaid’s TaleSo, like I said, Acting royalty.

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I won’t spoil the play for you other than to say its got the kind of juicy roles in it actors love, and even though I tend to prefer comedies or musicals over serious plays with a political message, and a really disturbing ending.  I genuinely enjoyed and was moved by the performances. I was lucky because the play (which has bounced around a bit) was in the middle of a six week scheduled run at the Gielgud Theatre in London’s West End. Even though it was was very well reviewed, I suppose its serious nature turned away most London tourists, and as such I was able to get pretty good tickets at a discount. HOWEVER when I got there I found that the salesperson had screwed up a bit… I’m always clear about wanting to be in the stalls in FRONT of the balcony-overhang. When I got there I found I was well behind it, towards the back of the stalls. I HATE this because there’s almost always a slight reverb effect as the actors voices bounce off the walls, and you often end up listening to sound from speakers in addition to the actual sound from them… so I complained (the advantage of arriving to the theater early). I was HOPING they’d move me up in the stalls (there were plenty of better empty seats) but the Manager said if I wanted I could move to the balcony where they had some open first row tickets (at same price point), so I did that.

Two things about the theater the play was being shown in … Firstly… like a lot of old things in London, while the Gielgud is very beautiful, it’s also a complete disaster for anyone with severe mobility issues. While the UK has disability rights legislation on the books, implementing them has been a major issue as a result of the historic nature of most of the buildings. This one, for instance, was built back in 1906. It was originally called the Hicks theater, and then the Globe, before receiving its current name in 1994.

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There are stairs everywhere, not an elevator in sight (there might be some backstage)… and they’ve NOT installed ANY ramps — not even where they reasonably could have, and GET THIS… the disabled bathroom is just through the doorway in the picture above, and you have to negotiate THREE steps to get to it… like I said, NO RAMPS … While there is a ground level door off to the side of the theater… even if you in through those side doors you STILL have to negotiate stairs to get to the handicapped bathroom!!! It’s absolutely imbecilic, and handicapped are relegated to the balcony as the stalls demand you negotiate a lot of stairs. The most recent refurbishment … when I assume the aforementioned bathroom was installed was in 2008, so you would THINK they’d have come up with a better work around for the disabled, but I guess not.

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That said, while the theater offered a sound system for those with hearing issues, the sound coming out of it was actually WORSE than the sound from the stage. The Actors in the show aren’t wearing microphones, so they’ve got those hidden around the stage, and by the time the actors voices reach them, they’re distorted by reverb far worse than what you hear live.

Come From Away: The Musical based on the happier events of 9/11 … LOVED IT!!!!

I love London. My dad grew up there and my family spent so much time there during summer vacations — not to mention my semester at London’s Royal College of Art — that I feel it’s my second home. So, growing up we did most of the MAIN tourist things… so when I go there I tend not to aim towards those sorts of things any more than I would in home Chicago. For me, London is and always has been about theater! (My mom loved theater so much that she often took us to two shows a day, and occasionally crammed in three). The third show I saw was possibly my favorite. I LOVED Come from Away!!! Honestly I saw a LOT of theater during this trip and this was my favorite show so far. I loved it so much that I not only bought the entire album (and listened to it a few times) but I went on to  social media and told all my friends they HAD to see it, and am considering seeing it a second time.

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If I can’t see it again in London I MIGHT even try see it in Toronto (where it’s also showing as an extended stay because — well how many hit musicals are about Canadians?) if I can swing a trip up there. The show was originally a conceived of by the Associate Dean of Sheridan College in Oakville, Ontario. He contacted a husband and wife writing team who had already done a show he knew of, and sent them to Gander, Newfoundland, where a ten year reunion was about to take place for the 7,000 airline passengers — who had been diverted there during the events of 9/11 (because US airspace had been closed to all commercial traffic) — and the locals who hosted them on a moments notice.

The intent was to interview them, collect their real life stories and from it to construct a show about the what happened during 9/11 from a different point of view, a more uplifting one. (The above video is the writing team and the Dean talking about what they created and why.) The show was first produced as a college production, but then was quickly picked up various small but influential theater groups, working up the food chain so to speak. However, before it opened on Broadway on March 12, 2017, and became a critical and box office success, the cast and crew brought the show to Gander itself.

Come from Away came to the London stage in February of 2019… and I saw it in July of that year.

With only a few exceptions all the actors in the above performance were the same ones that I saw. As this next video shows, the show which only won one Tony award, after being nominated for seven, including Best Musical in New York, the show went on to win FOUR Olivier Awards for its London production.

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My ticket, which was purchased the day of show was pretty spectacular… I was in fact almost sitting TOO close, but it was wonderful. As luck would have it two Canadians were sitting besides me, and since I’ve spent more than few months in Canada at this point, we were able to jointly laugh at a lot of insider jokes that you won’t quite get if you don’t know Canada.

While I loved pretty much every song in the show, although hands down my favorite one was this one (again the video shows same actress I saw perform it)

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So… I’ve said this before, but in case you’ve not read that post… first rule of London theater, as taught to me by my parents…  is, unless there’s a specific show for which you’re willing to pay full price, you’ll want to start out by going to the Tkts Booth in Leicester Square…. London has a very competitive theater scene, just like New York, so anything showing in a major theater is most likely very good. On the way there you’ll pass any number of store front ticket booths advertising them as THE half price ticket booth… keep walking. None of them are. Their What’s on Sale screen, behind me in the picture above, will tell you what tickets they have that is on deep discounts (usually 30 to 50% off). You can also buy tickets for two days out… so tonight, tomorrow and the next day… but not farther out than that. You can check their website to see what’s available, but you can only buy the tickets at their booth. Half price tickets for the top shows are ONLY available either at the box office doors of each individual theater, where you stand in line on the day of up to time of seating, but with no assurance of actually getting a seat … or here at the TXTS booth. (How do you want to spend your vacation time?) Personally I haven’t got that much time. This way is easier, and profits from the ticket sales at this venue rather (than ending up in corporate or private pockets) go towards the Society Of London Theatre, which supports the theater community in a myriad of ways. (So you can feel good about your purchase).

London West End’s production of: Matilda, the Musical – not my favorite

I love London. My dad grew up there and my family spent so much time there during summer vacations — not to mention my semester at London’s Royal College of Art — that I feel it’s my second home. So, growing up we did most of the MAIN tourist things… so when I go there I tend not to aim towards those sorts of things any more than I would in home Chicago. For me, London is and always has been about theater! (My mom loved theater so much that she often took us to two shows a day, and occasionally crammed in three). Matilda is a show I’ve been wanting to see for a while, so I was excited to see discount tickets available there. Its based on the Ron Dahl classic children’s novel, I’ve read it more than once, and the songs were written Tim Minchin who I’m a huge fan of and have actually written about before, AND its award nominations and wins are as long as your arm… so I was seriously looking forward to this…. but … not so much, sadly.

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So… I’ve said this before, but in case you’ve not read that post… first rule of London theater, as taught to me by my parents…  is, unless there’s a specific show for which you’re willing to pay full price, you’ll want to start out by going to the Tkts Booth in Leicester Square…. London has a very competitive theater scene, just like New York, so anything showing in a major theater is most likely very good. On the way there you’ll pass any number of store front ticket booths advertising them as THE half price ticket booth… keep walking. None of them are. Their What’s on Sale screen, behind me in the picture above, will tell you what tickets they have that is on deep discounts (usually 30 to 50% off). You can also buy tickets for two days out… so tonight, tomorrow and the next day… but not farther out than that. You can check their website to see what’s available, but you can only buy the tickets at their booth. Half price tickets for the top shows are ONLY available either at the box office doors of each individual theater, where you stand in line on the day of up to time of seating, but with no assurance of actually getting a seat … or here at the TXTS booth. (How do you want to spend your vacation time?) Personally I haven’t got that much time. This way is easier, and profits from the ticket sales at this venue rather (than ending up in corporate or private pockets) go towards the Society Of London Theatre, which supports the theater community in a myriad of ways. (So you can feel good about your purchase).

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So, like I said, the second show I saw was Matilda, a hit broadway show based on the Ron Dahl story — that was also made into a movie — of a scary brilliant little girl born into a family that that places no value on being educated, especially with regards to women. Matilda not only has taught herself to read by the time she’s able to walk and talk, but by the time she’s old enough to attend school she’s already reading Dickens and Tolstoy in the unabridged versions. I really wanted to see this show because the music was written by one of my favorite comedic singers, Tim Minchin, who wrote the song I referenced in my other post about the Loud Fence in Ballarat (a protest against the Church’s sexual abuse scandal).

All of that said, I none the less found myself getting a bit bored and irritated while watching this show… It does have some VERY good songs… good enough that I downloaded them (the good ones) from iTunes, in particular I loved this song:

but on average I wasn’t thrilled by the rest of the show (quite a let down because like I said, huge Tim Minchin fan). This song for instance really didn’t do it for me, even though it is in fact better (in my opinion) than some of the other ones….

That said what really annoyed me the most was when the show went completely off book, creating a new storyline that didn’t fit and added little to the story — which is kind of a children’s classic. This was a series of vignettes of Matilda making up a story for her favorite librarian. In fact the ONLY justification for it I could think of was that MAYBE they were concerned about the child employment laws and how many minutes the child actors (other than Matilda — I have got to think there’s some special case written into the law for the leading character) would be on stage.

London’s West End production of the “BOOK OF MORMON: The Musical” — Totally worth it!

I love London. My dad grew up there and my family spent so much time there during summer vacations — not to mention my semester at London’s Royal College of Art — that I feel it’s my second home. So, growing up we did most of the MAIN tourist things… so when I go there I tend not to aim towards those sorts of things any more than I would in home Chicago. For me, London is and always has been about theater! (My mom loved theater so much that she often took us to two shows a day, and occasionally crammed in three). The first show I saw this summer was the Book of Mormon, a show I’ve been wanting to see for years and have watched as much of it as I could find on YouTube… not to mention listened to the album.

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So… first rule of London theater, as taught to me by my parents…  is, unless there’s a specific show for which you’re willing to pay full price, you’ll want to start out by going to the Tkts Booth in Leicester Square…. London has a very competitive theater scene, just like New York, so anything showing in a major theater is most likely very good. On the way there you’ll pass any number of store front ticket booths advertising them as THE half price ticket booth… keep walking. None of them are. Their What’s on Sale screen, behind me in the picture above, will tell you what tickets they have that is on deep discounts (usually 30 to 50% off). You can also buy tickets for two days out… so tonight, tomorrow and the next day… but not farther out than that. You can check their website to see what’s available, but you can only buy the tickets at their booth. Half price tickets for the top shows are ONLY available either at the box office doors of each individual theater, where you stand in line on the day of up to time of seating, but with no assurance of actually getting a seat … or here at the TXTS booth. (How do you want to spend your vacation time?) Personally I haven’t got that much time. This way is easier, and profits from the ticket sales at this venue rather (than ending up in corporate or private pockets) go towards the Society Of London Theatre, which supports the theater community in a myriad of ways. (So you can feel good about your purchase).

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The First show I attended this summer was Book of Mormon, a show that I think pretty much everyone has heard of already… its been on stage nonstop since 2011, and was written by the same group of guys who do the cartoon series South Park. This of course was a show that at this point I’d listened to the album a few times and seen so many clips of bits and pieces of the show already… such as the following

… that I knew pretty much what I was paying for well in advance, but… all that said, I STILL wanted the experience of seeing it live on stage (because there’s no substitute to the energy of a live performance.

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MAJOR theater girl SQEEEE! 2017

That and I have (ever so briefly) MET the actor who played one of the lead characters in the original broadway performance of BOM a few years ago…The picture above is me at Epcot in 2017, where I had the mind blowing experience of recognizing these two HUGE stars of the Broadway stage as they walked right past me (oh my G-d! is that? It can’t be… IT IS!!!). On the left is Andrew Rannells, who played one of the aforementioned leads in the original cast of Book of Mormon (the guy singing in the video above), and on my right is Christian Borle.
[Slightly off topic: but if you don’t recognize him, Borle (the guy on my right), is a two-time Tony Award winner and is actually the bigger star by far. He is probably best known to non-Broadway nerds for the TV show Smash … [Note: if you watch the video pay note to Katherine Mcphee, the central girl in this video, as she’ll come up when I discuss the show Waitress]

where he played the long time writing partner of the character played by Debra Messing. Also I have to flex my theater nerd knowledge by mentioning Borle is also the ex-husband of Sutton Foster who is possibly the BIGGEST star on Broadway these days, as well as the lead in her own hit TV show, Youngerwhich was just renewed for its 6th season. (Borle actually had a small part on her show playing a romantic prospect)

Rannells (the other guy in the photo, and more on topic) has been nominated for, but has not yet won his Tony. (I really enjoyed his recent small but pivotal role in the movie A Simple Favor, with fellow theater nerd Anna Kendrick). All that said, Borle only allowed the picture of the three of us to be taken on condition that I didn’t post it to the internet for at least one year. This made me sad, but it was a request I found utterly reasonable as stars have stalkers and people posting real time photos of meeting stars to the internet can lead said wackos right to them. ]

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Returning to the Book of Mormon, in spite of buying the tickets THAT DAY, I managed to swing tickets in the stalls in row F (6th row), just a bit off the center of the stage. And although it wasn’t discounted, it way cheaper than it would have been in the states. I really liked how they made the edges of the stage look a bit like the Mormon Tabernacle in Salt Lake, which I had the pleasure of visiting back when I was in my 30’s (for some reason I don’t have any pics of it). UNADJUSTEDNONRAW_thumb_2f3b.jpg

One of the funniest things about Book of Mormon is how they are able to mock the Church of Latter Day Saints without having to tell any lies about them. They really do believe this stuff (that said none of it is any more ridiculous than any other religious beliefs, if you really think about it). That said, the show really lived up to my expectations and there were all sorts of nuances to the show I had missed because the record albums and the clips I had seen don’t cover the WHOLE show… bits and pieces are always missing unless you see it live.

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One of the “cool” things about the British Theater, pun intended, is at intermission they ALWAYS bring out little things of ice cream in multiple flavors that you can eat in your seats rather than being forced to finish it down in the lounge. This place also had water in recyclable and resealable cans, which I thought was pretty good.