The odds against a Broadway musical becoming a profitable hit make Hollywood studio film deals seem like a sure thing by comparison. However, there is a more palpable energy to live theater and arguably a genuine sense of risk. Filmmaker Dori Berinstein has captured this high-wire dynamic in spades with this enthusiastic 2007 documentary, which covers the 2003-04 Broadway season culminating in the Tony Awards held in June. There are plenty of random shots from the season's shows and even coverage of a little-known rehearsal ritual of having the most prolific cast member wear a gypsy robe before opening. Berinstein's focus is primarily on four disparate musicals the successful $14-million "Wizard of Oz"-inspired extravaganza, "Wicked"; a socially conscious period piece, the powerful "Caroline, or Change"; the glam-rock Boy George autobiography, the financially stunted 'Taboo"; and the season's underdog, the adult-oriented comic paean to Sesame Street, "Avenue Q".
Bouncing between the productions in various stages of development, the filmmaker intersperses brief interviews with the producers, directors, writers and principal actors, as well as scabrous roundtable conversations about the spotlighted shows among the influential theater critics who have the power to close a show with a scathing review. The diverse combination of perspectives provides interesting fodder, even though given the wealth of material gathered here, the treatment sometimes feels truncated and cursory, for example, composer Stephen Schwartz and star Idina Menzel are given plenty of attention on "Wicked", but not nearly as much is lavished on co-star Kristin Chenoweth or the other creative forces behind the show. Intriguingly, the near-legendary backstage turmoil behind "Taboo" is mentioned, but very little of that tension is evident in the rehearsal scenes or the interviews with producer Rosie O'Donnell, Boy George or stars Euan Morton and Raúl Esparza.
Even though it is not remotely a warts-and-all type of film, there are refreshingly candid comments from O' Donnell and Boy George about the unfair press coverage "Taboo" received from the New York Post's smarmy Michael Riedel. There are also moments that are surprisingly poignant like "Caroline" star Tonya Pinkins recounting her grief-filled back story and Morton near tears as he talks about his post-close struggles. Easily the most amusing scenes spotlight the young, precocious composers of "Avenue Q", Jeff Marx and Bobby Perez, who seem to have accidentally backed into their show idea and ironically came out the true victors. The interviews with Marx's proud but dumbfounded father are especially hilarious. As a Broadway aficionado, I couldn't help but wish there were more musical moments included beyond the snippets shown, in particular, more of Pinkins' stirring turn in her show or the wildly talented Esparza's cross-dressing turn in "Taboo". But otherwise, this all-access peek into the Broadway theater scene is genuinely insightful and wonderfully entertaining.
Bouncing between the productions in various stages of development, the filmmaker intersperses brief interviews with the producers, directors, writers and principal actors, as well as scabrous roundtable conversations about the spotlighted shows among the influential theater critics who have the power to close a show with a scathing review. The diverse combination of perspectives provides interesting fodder, even though given the wealth of material gathered here, the treatment sometimes feels truncated and cursory, for example, composer Stephen Schwartz and star Idina Menzel are given plenty of attention on "Wicked", but not nearly as much is lavished on co-star Kristin Chenoweth or the other creative forces behind the show. Intriguingly, the near-legendary backstage turmoil behind "Taboo" is mentioned, but very little of that tension is evident in the rehearsal scenes or the interviews with producer Rosie O'Donnell, Boy George or stars Euan Morton and Raúl Esparza.
Even though it is not remotely a warts-and-all type of film, there are refreshingly candid comments from O' Donnell and Boy George about the unfair press coverage "Taboo" received from the New York Post's smarmy Michael Riedel. There are also moments that are surprisingly poignant like "Caroline" star Tonya Pinkins recounting her grief-filled back story and Morton near tears as he talks about his post-close struggles. Easily the most amusing scenes spotlight the young, precocious composers of "Avenue Q", Jeff Marx and Bobby Perez, who seem to have accidentally backed into their show idea and ironically came out the true victors. The interviews with Marx's proud but dumbfounded father are especially hilarious. As a Broadway aficionado, I couldn't help but wish there were more musical moments included beyond the snippets shown, in particular, more of Pinkins' stirring turn in her show or the wildly talented Esparza's cross-dressing turn in "Taboo". But otherwise, this all-access peek into the Broadway theater scene is genuinely insightful and wonderfully entertaining.
