What is it about you?

Part 2 of my New York blog...

Skyscrapers, taken in Central Park

"When we left off last night, the hideous dragon had carried the maid to his cave by moonlight, he gnashed his teeth and breathed his fire. The heath quaked and we trembled in fear!"

Oh wait, wrong musical. This is where we left off. I did not see The Secret Garden (which the above quote is from) in New York, though I did see it in Seattle a few years ago on tour!

Anyway, moving along... 😀

Broadway Flea Market

The morning of September 25 found us back on Broadway attending the annual Broadway Flea Market, where they sell all kinds of things related to shows and all proceeds go to Broadway Cares/Equity Fights AIDS. It was quite an experience. Near the beginning I caught a glimpse of Jeremy Jordan. Many shows had booths. There were old programs, merch, used props, and more. The Kite Runner booth had cloth items made by women in Afghanistan, where the play is set. (I sadly missed that show, which I was hoping to see.) The Some Like it Hot booth (another show I didn't get to see) was giving away bottles of water. At the Aladdin booth, in addition to buying a signed Statue of Liberty prop used by the Genie (see my previous post), I got to meet Jasmine (Sonya Balsara) and get my picture with her! I mentioned that I had seen her in the show the previous night, and that she was amazing. She appreciated that.

At the Come from Away booth, I got to meet Sharon Wheatley (who played Diane) and Astrid Van Wieren (Beulah). I feel honored to have now met all three women they portrayed (the character of Beulah Davis is inspired by Beulah Cooper and Diane Davis) and the super talented women who originated their roles on Broadway. Sharon Wheatley signed her book Drive: Stories from Somewhere in the Middle of Nowhere for me. Astrid Van Wieren signed a Come from Away button.

With Sharon Wheatley

With Astrid Van Wieren

At the Stars in the House booth, the four of us admins from Broadway Remembered got our picture with Seth Rudetsky and James Wesley. I also bought a couple small paintings by their very talented daughter Juli.

Me, Jeremy Sunderland, Seth Rudetsky,
Melly Garcia, Michael Kape, James Wesley

Shortly after leaving their booth, I very nearly literally bumped into my old high school friend Barzin Akhavan, who I haven't seen since high school, and has been in the cast of The Kite Runner. He is also in an upcoming movie (he told me the title, but I forget), and has been in a lot of productions on the stage and screen. He has been involved in The Kite Runner since its inception. I performed with him in our high school production of Oklahoma!, and he later reprised his role of Ali Hakim in an Oregon Shakespeare Festival production. As we were passing each other at the Flea Market, I said, "Barzin!" His scream of delight and big hug took me by surprise, and was truly amazing. Here he was, a Broadway star, greeting me like I was the star and he was the fan. It meant a lot to me. After we had hugged and talked a bit, I introduced him to the others (who we had to find in the crowd). We then arranged to meet and talk some more the following day.

With Barzin Akhavan
Photo by Michael Kape

I left four rocks during the Flea Market: "Climb every mountain" from The Sound of Music, "Hygge" from Frozen, a second "Paciencia y fe" rock from In the Heights, and "Welcome to the Rock" from Come from Away.

Speaking of Come from Away...

Come from Away

Following the Broadway Flea Market, the four of us attended Come from Away, shortly before it sadly had to close. Most of the cast (though not everyone) was the original Broadway cast, and we were near the front. I was struck how some of the trees had grown root systems during the run. You can see it in the bottom corner of this picture:

It was amazing seeing it on Broadway with (mostly) the original cast. This was the fourth time I saw it onstage (the first three times were in Seattle). It gets me every time. It is such a powerful show, and it's such a shame it had to close a week later. I was hoping this would be able to go for years more.

Manhattan and Central Park

The following day I returned to the Harry Potter Store, and left a rock nearby ("To life, to life, l'chaim!" from Fiddler on the Roof). I walked up the street, as my appointment with Barzin was coming up. On the way to Central Park, I passed the Empire State Building (I hope to go in next time I go):

As I arrived at Central Park, I found it is a lot bigger than I realized. I went in the southeastern corner and walked through the zoo. I did some exploring in the park and left two rocks: "My corner of the sky" from Pippin (I loved that someone was gonna find "my corner of the sky") and "You will be found" from Dear Evan Hansen. I really must do more exploring next time I go. 

I was struck by the buildings all around. Barzin and I exchanged texts to arrange where to meet, and so I walked from the southeast to the southwest corner of the park. We sat on a bench and caught up, and then we proceeded to the Lincoln Center, where we sat in the courtyard and talked. I left my favorite rock there, with a quote from Les Misérables ("Even the darkest night will end and the sun will rise"): 

After meeting, we both had plans on Broadway. I was to see Six, and he had to get to The Kite Runner. We both took the subway to Times Square, where we parted. I had a bit of time to kill before my show, so I explored the Disney Store.

Six

"Remember us from PBS?"

Six is the "histo-remix" of the story of Henry VIII's six wives. It is told concert style with the six of them onstage with their "ladies in waiting" (the band) on risers behind them. Each tells their story, initially as a competition to see who had it the worst. It recently crossed the Pond from London, and it is unlike any other show I have seen. It masterfully and creatively injects interest, humor and music into a very serious story. It tells how each wife was respectively "divorced, beheaded, died, divorced, beheaded, survived." While it starts out as a competition, part of the lesson of the show is that these tough times are not a competition. Four were rejected for various reasons, one died in childbirth, and the last was with him to the end of his life. Each performer did a fantastic job of recounting her story. I also love how they acknowledged and introduced each member of the band.

Metropolitan Museum of Art

The following day, my friend Melly treated me to a tour of the MET (Metropolitan Museum of Art). I will need to go back next time, as we hardly scratched the surface of what is there, but she gave me a tour of many of the paintings. I was particularly fascinated by this one by Elisabeth Louise Vigée Le Brun of her daughter Julie, creatively presenting two perspectives of her in one painting:

Melly and I had lunch in the museum's cafeteria, and then she had to leave, but I proceeded to explore the gift shop and the Greek and Egyptian wings. Mythology and ancient art fascinates me.

Staten Island Ferry and Statue of Liberty

My next goal was to take the Staten Island Ferry and see the Statue of Liberty from closer up than I had seen it from Battery Park a couple days previous. I proceeded to the ferry terminal, which is near Battery Park, and boarded the ferry. It reminded me of the ferries on the Puget Sound, except it's smaller and doesn't have a place for cars.

It was a beautiful day to be on the water. Looking behind, I had spectacular views of Manhattan and surrounding. To the side, I got a great view of the Statue of Liberty. I hope to go to Liberty Island next time.

Upon arrival at Staten Island, I did a little exploring and left my last rock ("Hakuna matata" from The Lion King) and then returned to Manhattan. It was a bit of a rush to get back to Times Square for the show, but I just made it!

Harry Potter and the Cursed Child

While I have issues with the plot of Harry Potter and the Cursed Child, it is worth going for the effects alone. It almost looks like they are actually performing the spells onstage, and at times I wondered how they did it. The set and effects are mindblowing. In my opinion, the plot is best described by a quote from Doctor Who: "wibbly-wobbly, timey-wimey...stuff." It is the story of Harry's son Albus and Draco's son Scorpius forming an unlikely friendship and creating a big mess with the noblest of intentions. It was originally in two parts, but due to the pandemic was shortened into one show for Broadway. 

Hadestown

The following day, after I visited Hershey's Chocolate World in Times Square, Melly and I went to see Hadestown. It is the Greek tragedy of Orpheus going to the underworld to rescue his love Eurydice, told with New Orleans style music. It was mostly the original Broadway cast. Of the main characters, only Hermes (Lillias White) and Persephone (Jewelle Blackman) were different, and they were fantastic. Reeve Carney was an excellent Orpheus, Eva Noblezada was amazing as Eurydice, and Patrick Page killed it as Hades. I don't see many shows with a strong bass, but Hades is one such part. The set was simple yet complex. My only issue was that, though we had amazing seats, they were right in front of the stage, which would normally be a great thing, and it was great being able to see them so close...but a large portion of the show uses dry ice, which pours off the stage and into the first few rows. I thoroughly enjoyed the show, but smelled like dry ice afterwards. I would recommend sitting a bit further back if dry ice is an issue for you.

Into the Woods

After a visit to M&Ms World and a fantastic Cuban dinner, the four of us met to see the revival of Sondheim's Into the Woods, a mashup of several classic fairy tales that combine into a powerful and rather heavy second act. It was a who's who of Broadway actors, including Stephanie J. Block (Baker's Wife), Sebastian Arcelus (Baker), Gavin Creel (Cinderella's Prince/Wolf), Joshua Henry (Rapunzel's Prince), Krysta Rodriguez (Cinderella) and more. While it was fully acted, it reminded me of a concert style, as the orchestra was in the center of the stage and the set was very simple. Milky White was a brilliantly-designed puppet and more expressive than I've ever seen her. She pretty much stole the show. Her puppeteer (Kennedy Kanagawa) was just as expressive. I also loved how the giant was portrayed by two massive shoes (one of which was also operated by Kennedy Kanagawa) tromping around the stage with the help of two puppeteers. The voice of the giant (who also played Cinderella's mother) walked to the center of the stage behind the orchestra and you could see her talking from a distance. In other productions I've seen, she is completely offstage, except when you see her feet at the end.

I was sad to have to leave, but New York was an amazing experience. It was truly "one short week in the [Bi-i-ig Apple]!" I hope to return sometime. (Back to the Future opens on Broadway this coming June, after all!) It was also a personal record for the most live shows I've seen in one week. 

Thank you from the bottom of my heart to everyone who helped make this trip possible! It was amazing, and a highlight of my year!

NYC

 

Manhattan, taken from the Staten Island Ferry

All my life I have wanted to visit New York. Since childhood I have been a fan of Broadway. The past few years I have been a blogger for the Facebook group All Things Broadway (2018-2020), and an admin for the group Broadway Remembered (2019-present). Broadway Remembered is a growing group (currently with about 53,000 members), and as of earlier in 2022, I was the only admin who had never actually been to New York. The closest I had been was Washington-Dulles Airport on the way to France in 1999. The other admins generously helped me to fix this problem, and I finally got to achieve a lifelong dream in September 2022.

I was scheduled to see The Phantom of the Opera the evening of September 22. With plane delays and transportation issues, it was a bit of a tight squeeze, but with my host Michael, we were able to make it on time. As this has been one of my favorite musicals since childhood, I thought it would be an appropriate first musical on Broadway.

We got off the subway and came up to Times Square. I was blown away. I had seen pictures, video, seen the ball drop at New Years Eve on TV, and so I knew what it looked like, but nothing could prepare me for the sense of awe I felt. It had always been on a TV or computer screen, in magazines, books and other sources. But this time it was all around me. Screens were everywhere advertising products, TV shows, restaurants, Broadway shows, and more. They have a Disney Store, Hershey's store, M&M's store... Of course, we didn't have a lot of time to take it all in due to the rush to get to The Phantom of the Opera, but it was still an amazing experience.

The Phantom of the Opera

It was indeed an excellent first show on Broadway. I saw the show in Seattle on tour a few years ago, and I have seen the movie and the 25th Anniversary filmed production. But to see it on Broadway was an amazing experience. The sets were similar to how they were in Seattle, but more lavish. I figured they were able to do more, as the show has been in the Majestic Theatre over 30 years now, as opposed to a touring show that is only there for a few weeks. Performances were amazing.

After the show, we were planning to meet the other admins, Jeremy and Melly, at Sardi's just across the street. However, they had just closed when we arrived. We met at another restaurant nearby, and I finally got to have my dinner that had been delayed due to transportation issues earlier in the day. It was great meeting them in person and talking with them.

Harry Potter Store

The following day, I visited the Harry Potter Store. It was like a small Disneyland for Harry Potter fans, and I thoroughly enjoyed wandering around the store like I was a kid again (aside from the fact that I was an adult when the books came out). It is two floors and has a large phoenix statue in the middle of the round staircase.

One of my favorite Dumbledore quotes,
in the middle of the staircase

They have an area where you can find wands (replicas of the wands in the Harry Potter and Fantastic Beasts movies and Harry Potter and the Cursed Child). One room is dedicated to merchandise from each of the four Hogwarts houses. They have candy and treats mentioned in the books, as well as items from Weasley's Wizard Wheezes (such as extendable ears). Downstairs they have more treats, an area where you can have items personalized, Hogwarts trunks, robes, and more. They also have virtual reality experiences, which I didn't get to do, but hope to do next time I go. As you are exiting, they have a butterbeer bar, where you can get butterbeer and snacks. (They do not have pumpkin juice. I asked.) You have to drink your butterbeer there, but you get to keep the cups. They have a cleansing station where you can clean your cup before leaving.

World Trade Center and Battery Park

After leaving the Harry Potter Store, I took the subway to the World Trade Center. Before coming to New York, I painted rocks with Broadway quotes. I left my first one at the WTC. It had a quote from Come from Away: "Make me a channel of Your peace." I hope it found a good home!

The World Trade Center was a moving experience. The names of the victims are inscribed around the imprints of the two towers. So many names. Due to time constraints, I did not go to the memorial museum, but hope to do so next time I go.

Following the World Trade Center, I walked to Battery Park a few blocks away, where I left my second rock ("I am not throwing away my shot" from Hamilton). I saw the Statue of Liberty from a distance, though it left me wanting to see it closer up, as it was a small silhouette with cranes behind it from that angle.

Beetlejuice

That evening, I went to see Beetlejuice. I have seen the movie that it's based on, and I have enjoyed listening to the music from the cast recording, and it was great to see it onstage. I was struck by how different the theatre was from the Majestic. This one was at the Marquis, which is in a hotel. I went in the hotel lobby, and up an escalator to the second level where the theatre is. I was impressed with the set. It starts out in a graveyard, and most of it is in the house. Parts of act 2 are in the land of the dead. They had a large portion of the house onstage, and some scenes on the roof. It was a very complex set, and impressive the way they did it. Performances were also excellent.

The following day, we waited in line at the TKTS booth in Times Square, where you can get discount tickets to shows. While waiting in line, I left my third rock ("Shepherd's pie peppered with actual shepherd on top" from Sweeney Todd). After we were done at the TKTS booth, I left my fourth rock ("You're one of a kind, no category" from Six).

1776

While waiting outside the American Airlines Theatre, I left my fifth rock ("Paciencia y fe" from In the Heights).

I was struck once again how different this theatre was from the others. The auditorium was not nearly as long as other theatres. It was probably the most intimate of the ones I attended. I was in the back row in the balcony, but it wasn't all that far from the stage.

This set was much more simple than others. It mainly involved curtains, tables and chairs. 1776 was still in previews. It is an unusual take on the show, as the cast was all female and non-binary performers. They made no changes to the script, but I felt they nailed it.

Between shows, I left another rock ("This one could be one of the great ones" from A Bronx Tale).

Aladdin

I saw Aladdin in its pre-Broadway run, a few years before it reached Broadway. At that time I felt it had potential, but wasn't quite there. It had a song for Jasmine called "To Be a Princess", which was very much out of character for her, and I wasn't a fan. It also felt like a theatrical travel brochure for visiting Agrabah. The line "another Arabian night" got old. The "A Whole New World" scene was not fully developed yet, and the carpet just rose up and sat still while the stars rushed by on the backdrop. However, I loved that they put "Proud of Your Boy" back in. It was cut from the original movie, but it is one of my favorites in musical theatre. They even gave it reprises.

So I was excited to see how the show had changed since I saw it pre-Broadway. They addressed all my issues with the earlier version, and I felt while my previous experience had potential, this had met and exceeded that potential. The sets were better. "To Be a Princess" was gone, in favor of "These Palace Walls," which is much more in character for Jasmine. The carpet was much more impressive as it soared around the stage. The cave was much more impressive and sparkly. It felt more like the story I know and love than the travel brochure I felt previously. Michael Maliakel shone as the tallest and most expressive Aladdin I have seen. Sonya Balsara was a fantastic Jasmine and Michael James Scott killed it as the Genie. One of my favorite lines was when the Genie was talking about the lamp at the beginning of his show. He makes to pull the lamp out of his pocket, and instead pulls out a Statue of Liberty. He said something to the effect of "Sorry, I did a bit of pre-show shopping." He then put that back in his pocket and pulled out the lamp.

As the sign outside the theatre stated, my Broadway wish was indeed granted. Aladdin was one of the best parts of my trip. In fact, I even got to meet Sonya Balsara (Jasmine) the following day! More on that in my next post.

After the show, I left another rock ("A little reinvention" from Dear Evan Hansen, a show I would have loved to see on Broadway, but it closed shortly before I went.)

To be continued...

Quarantine Playlist

 March 2020

This was my last post for All Things Broadway's blog, which is no longer online. It sort of fizzled out due to the virus shortly after this. We have come a long way since I wrote it nearly 3 years ago, and I am grateful we now have vaccines and have learned a lot more about COVID. But it has still been a difficult time, and we are not out of the woods yet.

Masked up on Broadway, September 2022
(You may notice the picture is backwards,
as this is the back of the sign)

---

These are scary times. With the coronavirus going around, many of us are stuck at home. Many with jobs are working from home. Many are out of jobs. Many people have the virus. Life has changed drastically in the past few weeks in ways nobody could have predicted.

The theatre community and other kinds of artists have been hit hard. Broadway and the West End, as well as multiple other locations around the world where shows are produced, have temporarily shut down. Actors like Aaron Tveit and Chad Kimball are currently recovering from the virus. We’ve lost some of our older actors, such as Terrence McNally and Mark Blum to it. [Update, 2022: We have even lost younger actors, such as Nick Cordero, since I wrote this.] During this time it is easy to go stir crazy with our social distancing and avoiding large groups. Many of us have varying degrees of sickness. Depending on our mood at the time, there are any number of things we need to hear.

Sometimes we want to commiserate about the problem. Sometimes we need cheering words. We need to laugh. But we also need to be sensitive about words that may help one person, but will be harmful to another.

Since music and theatre are often healing balms, I thought it might be helpful to come up with songs that may be helpful during this time. Depending on your situation, please feel free to listen to ones that you find helpful and ignore ones that don’t speak to you. Everyone’s taste is different, and I tried to find a variety of different kinds of songs that speak to different needs during this crisis. They follow, in no particular order.

“You’ll Never Walk Alone”
From Carousel
This is a great reminder. So many of us are lonely during this time while we are physically distant from each other. No matter what goes on, we need to remember someone is always there rooting for us, in spirit if not in person. We need to remember to “walk on through the wind, walk on through the rain, though your dreams be tossed and blown.” You will never walk alone.

“No One Is Alone”
From Into the Woods
This is a similar reminder. We may lose people we love and admire, but we are never alone. We need to come together and support each other. Let us lean on each other and support each other.

“Pile of Poo”
From Emojiland
The release of the cast recording of Emojiland could not have come at a better time. Sometimes we need reminders to “remember who you are is what you do when life hands you a pile of poo.”

“Empty Chairs at Empty Tables”
From Les Misérables
This time is incredibly difficult for everyone. Odds are you know someone who has the virus (you might even have it), and thousands around the world have died from it. Sometimes we need to lament those we have lost. We need to let our emotions out or we will go crazy. [Update, 2022: Having lost my dad to a stroke since writing this, this song is even more emotional and meaningful to me.]

“Prayer”
From Come from Away
This is one of my favorite Broadway songs, and a constant source of comfort. We need to pray (whatever that means to you) for peace, and we need to work to spread it. Let’s be channels of peace, not divisiveness.

“Spread the Love Around”
From Sister Act
This is another song encouraging us to spread love and kindness to others. Everyone is having trouble right now, and we all need to give and receive love.

“My Favorite Things”
From The Sound of Music
These are scary times. Sometimes we need to distract our minds by thinking of things we like. “Raindrops on roses and whiskers on kittens,” among many other things, can be very comforting. Simple things can be powerful.

“Impossible”
From Cinderella
With everything going on right now, sometimes we are tempted to conclude that the idea of things getting better is impossible. Will our governments agree on anything? Will we find a vaccine and cure for the virus? Impossible! “But the world is full of zanies and fools who don’t believe in sensible rules, who don’t believe what sensible people say! And because these daft and dewy-eyed dopes keep building up impossible hopes, impossible things are happening every day!”

“You Will Be Found”
From Dear Evan Hansen
This is another source of comfort. Life is tough. Especially right now when we are distancing ourselves from each other, it’s easy to feel alone. But always remember, even if you feel lost and alone, “someone will come running.” There are people there who will find you and reach out to you. You can even be that person for someone else. Let’s find each other and support each other through this tough time.

“The World Has Gone Insane”
From Jekyll & Hyde
This is sung by a desperate man who is feeling the effects of a terrible disease that is slowly consuming him. He begins the song as a frantic doctor and ends it as an evil maniac. I hope nobody goes through the horrifying transformations he does, and thankfully that isn’t a symptom of coronavirus, but I think many of us can identify with Henry Jekyll more than normal.

“Singin’ in the Rain”
From Singin’ in the Rain
Rain is a funny thing. Sometimes it can be refreshing, and other times it can be annoying, and sometimes even dangerous. But there’s always a positive side. Rain can cause a person to slip, and it contributes to erosion, but it also washes away bad things and nourishes the ground, making things greener. Coronavirus is much more dangerous than rain, but there have been reports all over the world of pollution clearing up, canals in Venice becoming clear. That doesn’t diminish the horror of sickness and death, but there is always a silver lining, and always a reason to sing.

“Always Look on the Bright Side of Life”
From Spamalot
I find it interesting that this song is so common at funerals. In the midst of unspeakable pain and sorrow, we can always find a bright side.

“The Next Right Thing”
From Frozen II
This isn’t technically a stage show (yet), but it’s important to remember. Since it is so new, I don’t want to spoil it, but Anna is going through a very difficult time, and all she can do is “the next right thing.”

“Put on a Happy Face”
From Bye Bye Birdie
I grew up listening to this song. It has never failed to bring a smile to my face. Whatever is going on, no matter how difficult, remember it will get better. “Gray skies are gonna clear up. Put on a happy face. Brush off the clouds and cheer up. Put on a happy face.” Sometimes that’s easier said than done, but we can always remember to look forward to this being over.

“Vidiots”
From Charlie and the Chocolate Factory
With the advent of the term “COVIDIOTS”, this song has been going through my head lately. I would caution us, though, to go easy on the people in the news reports who have made less than advisable choices during this time. None of us is perfect, and we have all made ill-advisable choices in our lives. Just try not to let your choices spread disease…and definitely don’t be so dependent on technology that you suffer the fate of Mike Teavee. 

“Anthem”
From Chess
This virus has attacked the world. All of us are at risk. The rich as well as the poor. Nobody is immune. At this time we’re all in this together. We need to come together and remember that “my land’s only borders lie around my heart.”

“Cell Block Tango”
From Chicago
Let’s all remember when the vaccine is here, that this virus had it coming. “It only had itself to blame.” I fully endorse scheming a horrible demise for this virus, and it can’t come soon enough. Let’s be sure to take out our revenge on the disease and not people, though.

“Seasons of Love”
From RENT
Hopefully this crisis won’t be around anywhere near 525,600 minutes, but we need to measure our lives in love. Some lives have shorter measurements than we anticipated. Everyone needs to give and receive all the love they can through every season.

“Please Don’t Touch Me”
From Young Frankenstein
It’s important to practice social distancing during this time. Although considering the circumstances, let’s stay farther away from each other than Elizabeth and Frederick during this song. We can always come closer and waltz a foot from each other once this is over.

“Luck Be a Lady”
From Guys and Dolls
We can always trust to luck that it will be in our favor. Maybe we’ll get lucky and it will clear up quickly. But let’s not trust solely on luck. We need to do what we can to help luck along and slow the spread of the virus.

“I Whistle a Happy Tune”
From The King & I
As mentioned before, this is a scary time. One technique when you’re scared is to whistle or sing a happy song. Sometimes that can go a long way to cheering you up and conquering your fear.

“The Play”
From Be More Chill
There’s something therapeutic about listening to a virus being destroyed. If only this one could be defeated with something as simple as Mountain Dew Red!

“One”
From A Chorus Line
You are unique. You may also be one person in quarantine. There is nobody quite like you. You are definitely “one singular sensation,” and I am rooting for you!

“For Good”
From Wicked
Last, but certainly not least, let’s look for the good in each other. This is sung by two dear friends who are saying good bye to each other and realizing that, for all their rivalry and disagreements over the years, they have had a profound and good influence on each other. How have your friends and family influenced you? We need to support and lean on each other during this difficult time if we are going to get through it. Just don’t lean on people literally, as we need to keep our social distance. We also need to remember the loved ones we’ve lost and let them live on in the way we choose to live.

This is by no means a comprehensive list. There are so many other songs out there that are appropriate during this time. But I hope that gets you thinking of songs that might be helpful to get you through this. It will end, and most of us will come out on the other end.

Love to everyone!

Steven Sauke is a Broadway fan who has been through a lot and has been helped considerably through the years by music and art. Much of that has been from musicals.

You Are Here: A Come from Away Story

September 2019

Eighteen years have passed since the horrifying event that ended the lives of so many innocents and left the survivors’ lives forever changed. Fathom Events sponsored the first wide US release of HBO Canada’s documentary You Are Here: A Come from Away Story. It tells the story of the amazing response by several small communities in Newfoundland when thousands of people from around the world were suddenly stranded “somewhere in the middle of nowhere.”

Several of All Things Broadway’s bloggers attended showings of the documentary in different parts of the country. Their thoughts follow.

Taking a Gander at Gander

By Michael Kape

When I arrived home from seeing You Are Here at the local cinema, my house guest asked, “So, how was it?” To which I replied, “I laughed. I cried. I was exhilarated. I was depressed. What more can you ask of a documentary than that?”

What more indeed? For those of us who’ve been blown away (and who hasn’t?) by the perfect musical, Come From Away, the opportunity to see the real people behind the fabulous story was too, too tempting. Onstage, we are charmed and delighted by the generosity of human spirit as exemplified by the people of Gander, Newfoundland. But, it’s a musical. Liberties must be taken with the facts (surprisingly few, actually). Could the real people of Gander be so self-effacing (“All I did was make sandwiches,” one Gander woman says in the film) and so thoroughly delightful at the same time?

Yes, they could. And they are. They are Gander, and it might be one of the most wonderful places on the planet.

We all know the story. On September 11, 2001, 38 planes filled with almost 7,000 scared passengers landed at the Gander airport. And that’s when the 9,000 people of Gander went to work. In five days, as the mayor notes, the Come From Aways (as people not from Newfoundland are called) went from being strangers to being friends to being family. And after seeing the real people behind Come From Away, I truly believe the people of Gander are exactly as portrayed in the musical.

The people of Gander can be uproariously funny as they go about the business of providing (and by providing, I include just about everything humanly possible). They move us to tears at times. Their stories thrill us by just how seemingly ordinary they are (though I would never call the people of Gander ordinary).

Yet, for those of us who remember 9/11, it was one of the most depressing moments in history. For those of us who witnessed the Twin Towers collapse before our eyes (I was stranded in New Jersey looking east from the office patio, and saw the buildings fall), it was horrifying. In a constant battering by bad news, one small story did stand out—the reports of what was happening in Gander. These left us all wanting to know more, but so little information was available at that time, and the efforts got lost in a raging sea of alarm.

No, we must never forget what happened on 9/11, but we should always remember that one single spark of bravura humanity lighting the way from a rock in the Atlantic Ocean. Gander. That sums up so much.

Source: https://www.youareheredoc.com/press

Returning to Gander and Paying it Forward

By Steven Sauke

We sat there in the movie theater staring at those images. We couldn’t look away. Snow flurries blew over a peaceful waterfall at the 9/11 memorial in New York while the audio from the black box on one of the planes played. It went back to the news footage from that horrible morning 18 years ago. It was like I was standing in my living room once again, aghast and emotional after all these years, even though I knew this time what would happen. Watching that plane fly into the World Trade Center. The ball of fire, the sudden gasp of shock, and then New Yorkers running for their lives.

Over the next hour, we would meet the people of the small town of Gander, Newfoundland and surrounding communities, who welcomed nearly 7000 “come from aways” suddenly stranded in a small town in the middle of nowhere. Many didn’t even know where they were at first. At least one come from away found out where he was when he called home and his family told him they had been tracking his flight. So many Ganderites dropped everything and worked together to provide for the needs of strangers. Teachers helped prepare their schools for guests. Bus drivers broke off their strike to transport everyone, because “our beef is with our employer, not these people.” The local news media broadcast the needs as they became known, and the citizens of Gander and the surrounding towns rose to the occasion. Over the next few days, they would offer rides, provide meals, clothes and other essentials. A couple would meet and fall in love. A mother and father would desperately search for their son, a firefighter in New York, and be helped and comforted by the mother of a firefighter in Gander. One plane was delayed leaving Gander because a passenger’s host had taken him moose hunting and they had to track him down. One line that really struck me was when Mayor Claude Elliott said that they welcomed nearly 7000 strangers on September 11 and 12. Soon they had 7000 guests. After five days, they said good bye to 7000 family members. Ten years later, many of the come from aways returned to Newfoundland. Throughout the reunion, visitors and Newfoundlanders alike spoke with a young couple who some took for college students, and were perplexed when they found out this husband and wife were planning to write a musical based on…making sandwiches?

They would be blown away by the result. As one person observed, Come from Away nailed it. The documentary continued through the workshop and Broadway premiere stages of producing the musical. You Are Here: A Come from Away Story was a beautiful retelling and intimate conversation with the people who made it possible. I felt like they were my friends. Since I met some of them a year ago, some of them are.

Rewind a bit.

A year ago, I interviewed several of the come from aways and Ganderites for an article on what happened those five days and following. When the national tour of Come from Away opened in Seattle, many of the people involved visited, and I was hoping to be able to meet some of them. After being showing unconditional love and kindness, Kevin Tuerff founded an initiative called “Pay It Forward 9/11.” Every year, he gives his employees $100 to go into the community and do random acts of kindness for strangers. Last year, I was one of his recipients. He told me he was giving me two tickets to a special screening of You Are Here in Ballard, a neighborhood in Seattle. My brother and I arrived at the theater and were welcomed by the owner, who said, “You are here, so you belong.” When he asked who we were connected with, I explained Kevin Tuerff had invited us. (That owner is well connected, as he appears briefly in the documentary at the Broadway debut.) Come to find out, almost everyone at the showing was somehow directly connected with Come from Away. Many of the come from aways and Newfoundlanders were there. I introduced myself to Nick and Diane Marson and thanked them for the interview. They then introduced me to Bonnie Harris and her sister. After the show, we were standing in the lobby next to Beulah Cooper, and she gave us hugs. Complete strangers. Oz Fudge was wearing his “STFD” t-shirt. Kevin Jung sat down the row from me, as did Brian Mosher and Janice Goudie. We sat behind Bonnie Harris, Beulah Cooper and Hannah O’Rourke. David Hein and Irene Sankoff were there, though I unfortunately did not get to meet them. Kevin Tuerff recognized me, and we got to talk and get a picture. Just now looking through my pictures from that day, I noticed Appleton Mayor Derm Flynn was also there. (Claude Elliott, Beverley Bass and Diane Davis were unable to make it to the screening, but I would get to meet Diane Davis a couple weeks later when she came to the show.) It was an unforgettable day, and I wanted to share this experience with others.

Oz and Lisa Fudge,
Director Moze Mossanen,
Producer Peter Gentile,
Kevin Tuerff

Hannah O’Rourke,
Beulah Cooper,
Bonnie Harris

Photos by Steven Sauke

Fast forward a year, and Fathom Events was finally hosting the first wide release showing in the US of the documentary. Kevin’s lesson is one I have endeavored to put into practice throughout the year, and this time, the opportunity presented itself again. I arranged for my family and two friends to watch the show. It was only after I ordered the tickets that I found out that one of my friends I ordered tickets for would be out of town and unable to make it. Kevin specifically advises showing kindness to strangers, so I posted in the Come from Away Fans Facebook group that I had a free ticket for anyone in the Seattle area who wanted it. I had exactly one taker, so it worked out perfectly. She brought her husband, who got a ticket at the box office, and when she offered to pay me back for her ticket, I politely declined and changed the subject. 

Steven Sauke and Michael Kape are recurring bloggers for All Things Broadway.

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This was a collaborative post that we wrote for the All Things Broadway blog, which is no longer online. I am sharing as much of the post as the respective authors have authorized me to reshare. :-)

Prayer, Come from Away

I wrote the following as part of a collaboration in the All Things Broadway blog in December 2018. As it is no longer online, I don't have the other contributions on that post, but it was about Broadway songs that were particularly meaningful to us at Christmas. I selected "Prayer" from Come from Away.

Picture (and rock painting) by Steven Sauke, September 2022
I painted this rock and left it at the World Trade Center for someone to find.
I trust it found a good home.

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Since the first time I listened to the cast recording of Come from Away, it resonated deeply with me. It brought back memories for me of learning of the tragedy and the aftermath. The music alone left me in tears. I grew up internationally, and this was truly an international tragedy. I found the song “Prayer” especially moving and relatable. Having lived in three countries, and having visited several others, the sense of unity in this song is particularly powerful for me. It beautifully weaves the prayer of St. Francis with Jewish, Sanskrit and Arabic prayers, all expressing a desire for peace and praise to God. This is the spirit of Christmas. In the Bible, the angels proclaimed “peace on earth” to the shepherds. St. Francis (and Kevin T. in the musical) prayed that God would “make me a channel of Your peace.” The rabbi and Eddie pray that God, who makes peace on high, make peace on us and all of Israel. Amen. The Sanskrit section of the song prays that they be led from falsehood to truth, from darkness to light, from death to immortality, and above all, peace, peace, peace. In Arabic, the character Ali praises Allah for his greatness and glory.

In his book Channel of Peace, and when I was interviewing him for my blog post in August, Kevin Tuerff mentioned that St. Francis’ prayer was in his head while stranded in Gander, but he did not recall mentioning that when Sankoff and Hein interviewed him in preparation for writing the musical. It seemed providential that they included it, and coming from Kevin T., no less. This song and Kevin Tuerff’s book have got me thinking more about how I can be used as a channel of peace. As a Christian, and as a human, I want to be someone who spreads peace. For too long, both Christianity and Islam have given good reasons for their violent stereotypes, exacerbated by the Crusades, terrorism, countless wars, and so much more. But both religions have peace at their hearts. The extremists on both sides have given their respective religions a bad name. We need to end the conflicts and work together to become a channel of “PEACE ON EARTH, GOODWILL TO MEN!”

PS. Did I mention I saw Come from Away three times when it came through Seattle in October? It is that good! In fact, it’s so good that even Grumpy Olde Guy [my friend Michael Kape, a retired Broadway critic] liked it when he saw it a few weeks later in LA! A ticket would make a great Christmas present for anyone in your life if you get the chance.

Kevin Tuerff and me, October 2018

Theatre Etiquette, Part 2: A Night on the Town

 “It’s poo-LONK!”

I was attending a singalong featuring works of French composers Gabriel Fauré and Francis Jean Marcel Poulenc. Between movements, the host recounted the lives and inspirations of the two composers. I don’t remember what he said about them. They passed out sheet music when we arrived. We sight read Fauré’s Requiem, and I can’t remember which of Poulenc’s works we learned. Remembering the occasion, I had to think hard to remember that much, because the main thing I remember about the occasion was a person behind me. Every time the host mispronounced Poulenc’s name (he pronounced it “poo-lenk”), the person behind me corrected him under their breath. They likely assumed nobody could hear them, but it overshadowed the memory of the evening for me. I could hear the mutters loud and clear, and it drove me bonkers. Partly because I have the same habit, and that was when I realized the effect it has to people around me. That day I determined I would stop doing that. (I have had varying degrees of success acting on that resolution, but I’m working on it!)

I have had other incidents where people around me have distracted from the performance, but that is one of the more memorable ones. Perhaps you have stories of people’s cell phones lighting up the theatre, or maybe your amazing brother belting out “Evermore” during the credits of the recent movie remake of Beauty and the Beast so loudly that it sounded like Josh Groban was his backup singer. Perhaps you were in the theatre when Patti LuPone confiscated an audience member’s cell phone.

A couple weeks ago, I went over etiquette for people putting on a show. Now it’s time for etiquette for the audience.

Before the Show

• Arrive early. Entering late can be disruptive, and you’ll miss part of the show. If seats aren’t assigned, this can also help you to get a good seat.
• If something comes up and you can’t make it to the show, let the theatre know so they can reassign your seat. The person who gets your ticket will thank you. (I got a ticket to Come from Away at the last minute once because someone did this. I have no idea if that person is reading this, but if it’s you, thank you!)
• Do your research. If a show is of an adult nature, do not bring children. This can also save you from seeing shows that you may find surprisingly offensive. It can also save you from seeing a show with strobe lights if you’re sensitive to them.

Phones and Cameras

• Turn your cell phone completely off, or at least silence it and put it in airplane mode. Phones ringing during the show can be disruptive both for the audience and the actors. The same holds true for bright lights in the audience. If your phone is on during the performance (silenced and in airplane mode, I hope!), don’t check it during the show.
• Don’t take pictures during the performance.
• Don’t video the show or any part of it (unless you are invited to do so by someone onstage).
• If you look at your phone before or after the show, it’s best to dim your screen so it doesn’t blind people, especially if the theatre lights are somewhat dim. On most smartphones, this can be accomplished by swiping down from the top and adjusting the slider to the left.
• If you absolutely must have your phone on during the show (for example, if you are in the medical field and need to be on call), you may want to speak to an usher for guidance, as different theatres have varying policies on that. If you must take a call, at least exit the theatre and take it in the lobby. (If that is the case, you may want to request an aisle seat so you don’t have to squeeze past people.)
• While it is difficult to read your program in the dark, don’t use your phone or a flashlight to read it during the show.

Other Noises

• Avoid correcting pronunciation or other mistakes under your breath. You might be surprised how far your voice carries. (See above.)
• If you know how the show ends, avoid mentioning spoilers.
• Don’t talk during the show. This includes excited comments when someone you know walks onstage, wondering what just happened, less-than-complimentary comments on a performer you dislike, loudly deciding you dislike the hairstyle of the person in front of you, etc. Save the RiffTrax for Mystery Science Theater 3000.
• Get plenty of rest before the show, as your fellow audience members don’t need to be treated to snores.
• Do not recite or sing along, unless you are at a rock concert or you are invited to sing along. People came to hear the people onstage sing and act, not you.
• Laugh and clap at appropriate times. If you feel the need to laugh during a scene that would make most people cry, at least try to keep it quiet so it doesn’t ruin others’ experience.

Consideration of Others

• Don’t wear tall hats or beehive hairstyles, as it can obstruct the view of people behind you.
• If you must use perfume or cologne, please use it in moderation, as strong smells can dampen others’ experience.
• Keep your feet off the backs of the seats ahead of you, and avoid hitting them with your knees or anything else.
• Once the show starts, do not stand up unless there’s an emergency, or a standing ovation is warranted during the bows.
• Try to keep bathroom trips to before the show, during intermission, or after the show.
• Don’t use laser pointers. In fact, don’t bring them to the show.
• If you see an outlet on the stage, do not go up and try to charge your phone. (Unlikely this will happen, but I did read an article once about it happening!)

Dress

• Dress appropriately. Different theatres have different policies on this, so you may want to call ahead if in doubt. This also varies depending on what you are going to see. A high school production would be a much more casual occasion than, say, an opera.

Food

• Check your theatre’s policy before bringing outside food in. Most theatres don’t allow it.
• Avoid opening candy wrappers during the show, or eating said candy while holding the wrapper.
• Avoid crunchy food, such as chips. People around you don’t need to hear *crunch crunch crunch* when they’re trying to listen to the show. (They can also be crumbly and make a mess.)
• Avoid greasy or messy food, including soda (pop, Coke, soft drinks, whatever you call it where you live) that can spill and make for a sticky floor. If your hands are messy from eating greasy food before the show, wash them before entering the theatre.

After the Show

• Avoid booing a person’s performance, unless they played a villain and their character’s personality warrants it. In that case, boo the character, not the performance.
• If you aren’t planning on keeping your program or Playbill, give it to an usher. This cuts down on clutter, and if it’s in good enough condition, they can reuse it. (This can also cut down on costs for the theatre.)
• Take your trash with you. The people who have to clean up after the show will thank you.
• After leaving the theatre, avoid discussing spoilers, as passersby may be planning to see the next show and don’t need to know yet how the show ends. You can always discuss that in the car or at home when you know everyone around has seen it.

Stage Door

• If you do stage door, be patient as the actors often have to remove makeup and costumes before meeting people.
• Respect the actors and fellow people in line at the stage door.
• If the actor you were hoping to meet doesn’t come out, don’t take it personally. Perhaps they had a particularly exhausting performance and need to rest up for the next one.
• Don’t crowd the actors.
• Don’t spend too much time with an actor, as others are also waiting to talk to them. Pay attention to any restrictions on signatures and pictures.
• You may want to check with the theatre ahead of time whether they have a policy on gifts for the actors. While it is thoughtful and may mean a lot to the actor, they sometimes get mountains of gifts and then don’t know what to do with them.
• Basically, as much as you may admire them, remember the actors are human and need to be treated as such. (That’s sometimes easy to forget when someone is particularly talented.)

To sum up, all of this can be consolidated into two words: Be respectful!

Enjoy the show, and do what you can to help others enjoy it!

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I wrote this in October 2019 for the All Things Broadway blog, which is no longer online.

Theatre Etiquette, Part 1: Putting on the Ritz!

“Hello?”

RING RING!!

This is what happens when the person doing the sound effects is so enthralled with the stellar acting in John Olive’s The Voice of the Prairie that he forgets he is supposed to trigger the sound cue for the telephone, causing the actors to have to ad lib until they finally answer the silent phone because the show must go on. It is only then that the sound guy jumps and presses the button to make the phone ring. After the character has answered the phone. Embarrassing? Absolutely! If you haven’t guessed, that sound guy was me. For actors, crew members and everyone else putting on a show, it pays to remember your cues!

When putting on a show, it is important to follow some guidelines that will help to create a memorable experience for the people who will be paying to see your show. I thought it might be useful to include some of those here to help future productions. Some of these may seem obvious to some, but not to others.

Directors and Producers

• Congratulations! You have chosen a show to put on! Have you secured the rights? Be sure to review the contract carefully and abide by the terms. Shows have been cancelled by the rights holders in the past because people didn’t read the terms and didn’t know the laws well enough.
• Don’t make changes to the script without permission from the playwright or rights holders. This includes cutting songs, removing swear words, rearranging scenes, and any other changes you might want to make. Depending on your situation (for example, a school putting on a play that includes swear words in the script), there may be good reason to make minor tweaks, but it is essential to get permission before doing so. The artist wrote it the way they did for a reason, and they need a say in any tweaks in the script. If you don’t want to seek permission, or if the permission is denied and it is important enough to you, you may do better to choose a different show. Arranging videos of the performances also falls under this area. If you want to the show recorded, be sure you have permission from the copyright owners first (and pay any additional royalties if they require that for recording it). This also sometimes includes when you are allowed to announce the show you are doing.
• Respect your cast and crew. They are here to bring your vision (and the playwright’s vision) to the stage. As you know, blocking involves telling actors where to step, how to move, etc. Sound and light cues need to come in a precise part of the show and spot on the stage. You need to be able to give more precise instructions than you would in other situations, but it is important that the cast and crew not feel micromanaged. There is a balance between encouraging actors’ creative juices and overregulating and over-criticizing. When you give stage notes, be sure you aren’t coming across as upset that they did something wrong, or that they are in trouble. The more respectful you are to the actors and crew members, the more they will respect you and be willing to take direction.
• Though rehearsals can run late for various reasons, be conscious of the time and needs of your cast and crew. If rehearsal runs too late, it can affect other parts of their lives, and they (and you) may have trouble staying awake the following day! Tiredness can also lead to tempers flaring. 
• Take into account dietary needs of everyone in the show. Since it is common to have food at rehearsals and cast parties, it would be a shame for someone to have to leave the show because they accidentally ate something they were allergic to. (For that matter, avoid having messy food backstage during the run of the show. For example, banana peels on a dark floor backstage could be a recipe for disaster.)

Cast and Crew

• Remember that theatrical communities are often tight-knit, and theatre groups communicate with each other. Don’t get blacklisted with one company, as other companies may find out and blacklist you as well. You may never be told, but you may suddenly find yourself having a lot of difficulty being cast in a show. (Of course, there are plenty of other reasons you might have trouble being cast, but that is an important one.) 
• Let your creative juices flow, but don’t take it personally when your director tells you to change something in the way you portray your character.
• Listen to and do what your director and stage manager tell you. Even if you don’t like a stage direction, be willing to make changes in the way you portray a character if told to do so. Inability to take directions is a surefire way of being blacklisted, and even dismissed from a show on occasion.
• Be careful how you talk to and about others in the production. Badmouthing others is another way to be blacklisted.
• Remember your cues. This may mean marking up your script with reminders. (If the script doesn’t belong to you, be sure to use pencil!) After my mistake I mentioned earlier, I made notes in my script every page for several pages back, “Phone coming in ten pages”… “Phone coming in nine pages”… etc. I also highlighted and circled the sound cue. (My script belonged to me.) Whatever works for you so that you remember, be sure you do that.
• Memorize your lines. There are various techniques for doing this, and it might behoove you to talk to more experienced actors, or your director, if that is an issue. It can be embarrassing when you are standing onstage and you forget your lines. At that point, you don’t have the option of saying, “Line?” I speak from experience.
• Do not give stage notes or suggestions to fellow actors. That is the job of the director and stage manager. If you have ideas to improve someone’s performance (or correct an error you notice), by all means talk to the stage manager about it. But do not talk to the actor in question. That said, you will want to keep the suggestions to the stage manager in moderation, because you also don’t want to be a pest. You want others to see you as helpful, not arrogant.
• Maintain a certain amount of humility. It is good to be proud of your talent, but you don’t want to come across like Carlotta in The Phantom of the Opera, looking down on others in the production and treating them as less than you.
• If you see another person’s prop backstage, do not touch it. Props are where they are so they will be handy when the actor who needs it can take it onstage. If a person’s prop isn’t on the prop table at the moment they need it, that could cause serious issues onstage.
• Don’t take your props, costumes or makeup home during the run of the show. If you forget to bring it to a performance, you may be out of luck. They need to stay at the theatre so they are there when you need them.
• Turn off your phones, or at least put them in airplane mode and make sure they are silenced. Let’s just say your show is set in ancient Greece. Unless archaeologists discover something heretofore unknown, the ancient Greeks did not have cell phones, and it would ruin the ambiance for a phone to start ringing backstage. (Well, I wouldn’t put some shenanigans past Apollo, but that’s another matter.) Even in shows set in modern times, a phone at the wrong time can disrupt a show.
• Keep talk backstage to a minimum and as quiet as possible. The audience should not be able to hear it, and depending on the theatre where you are performing, you might be surprised how much the audience can hear. In fact, as a general rule of thumb, if it is typically mentioned in the pre-show instructions to the audience (turn off your phones, don’t talk during the show, don’t open candy wrappers during the show, no filming or photography, etc.), follow those directions backstage as well. This is also important because actors need to be able to hear what is going on onstage, so they don’t miss their cues.
• If you make a mistake onstage, just go with it. Making it look like you intended to do that is an important skill to master. Wincing or breaking character is worse than making the mistake in the first place, and if you recover right, the audience may never know you did anything wrong. (When you get offstage, you may want to make a note in your script or take other measures to avoid that mistake in future performances.) If a fellow actor makes a mistake that affects someone else, cover for them. But stay in character!
• Remember the fourth wall. You can’t see it, but there is an imaginary wall that separates you from the audience. Unless the script calls for it (such as for certain parts of Into the Woods, Jersey Boys and others), it looks far less convincing when you try to make eye contact with the audience. For the duration of the show, your world is onstage. That said, avoid having your back to the audience, unless the script and/or your director calls for it.
• If you have a matinee and evening show in the same day, avoid leaving the theatre or taking unnecessary risks between performances. If the unexpected were to happen (such as a car accident or the like), that could negatively affect the rest of the run, and it wouldn’t be pleasant for you.
• If you do stage door or are otherwise able to greet audience members after the show, follow your director’s instructions. Some directors allow the actors to leave the stage and greet their friends, family and fans right away. Others require actors to change and remove makeup before doing so. Since this varies between theatre groups, you will want to clarify that with your director if they don’t mention it before the show.
• While pranks can be fun during the final performance, make sure they aren’t noticeable to the audience. They paid to see the same show you’ve done throughout the run, with the same quality. If your director tells you not to do pranks the final performance, don’t do them!
• To quote J.K. Rowling, #KeeptheSecrets. Promoting your production is great, but don’t give spoilers to people who aren’t involved, as that can affect how people seeing it for the first time appreciate the show.
• Under no circumstances should you say the name of the Scottish Play (unless you are performing said play) or tell anyone “Good luck” in the theatre! It would be a shame to have to delay a show because you had to go outside, spin around 3 times, spit, curse, and then have to knock on the theatre door to be allowed back in! Best to avoid the “M” word and tell everyone to break a leg instead. Theatre superstitions are very important!

Most important: Enjoy yourself! Pulling off a show successfully is an exhilarating feeling and something to be intensely proud of. It’s a lot of hard work, but it’s worth it.

Break a leg!

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I wrote this in September 2019 for the All Things Broadway blog, which is no longer online.