Some eye-candy for ya!

This is Bobo FAG after all. I decided this site needed some hot men destined for the pin-up in the locker of my mind. It's a motley crew. Can you name them all?

Sondheim: A Funny Thing Happened on the Way to the Forum

After already making his mark in musical theatre history with the lyrics to "West Side Story" and "Gypsy," 31 year old Stephen Sondheim was finally given the chance to write his music as well as lyrics. The show was the 1962 Broadway musical farce "A Funny Thing Happened on the Way to the Forum." Based on the comedy of Roman dramatist Seneca, "Forum" is perhaps the funniest musical comedy in the pantheon of musical comedies. The wild farce, about a clownish slave (Pseudolus, originally played by Zero Mostel) who schemes to free himself by enabling his young master to marry the (already betrothed) virginal courtesan of his dreams, is an uproarious, door-slamming, tightly constructed potpourri of classical farce, catchy music and borscht belt humor. Unlike most of Sondheim's shows, the success of Forum is primarily attributable to it's book writers: Burt Shevelove and Larry Gelbart (of M*A*S*H, the televison show, fame). Sondheim's music is, formally speaking, unessential to the plot of "Forum," as most of the songs allow for character development and comic flights of fancy, not story. Plot motion is left to the delicately constructed book. Still Sondheim's score is a total delight; the music is bouncy, romantic and unencumbered by pretension. His lyrics deepen the comedy of the goings-on and, in one brilliant instance, give the show it's comic highlight.
The lovers duet in Act I is a charming song called "Lovely" in which the virginal courtesan explains to her would-be suitor that her only asset is her beauty. Who cares that "isn't it a shame/ I can neither sew nor cook/nor read or write my name." Near the shows climax, through elaborate plot machinations, the slave Hysterium has been convinced by Pseudolus to don drag and stand in for the young virgin (don't ask!). Convinced he looks like a fool, Hysterium threatens to withdraw from the plot. To reassure him, Pseudolus serenades the nervous slave with his own reprise of "Lovely." Hysterium buys it hook, line and sinker; the number ends in a hilarious duet between both men intoning Hysterium's "loveliness." Here is Sondheim using a musical reprise to make a dramatic (in the structural sense) moment come alive. A new song would not have been nearly as effective in the moment, and, in retrospect, the original version was a mere set-up to the delicious punch line (almost an hour and a half later in the evening.) Though "Forum" is hardly the best example of Sondheim's musical legacy (the music is rarely sung outside the show) it nevertheless allowed a score by Sondheim to enter the musical theatre canon. "A Funny Thing Happened on the Way to the Forum" has become one of the greatest gems in the history of musical comedy and premiered at the zenith of the genres golden age, near the same time as shows like "Hello, Dolly!", "Bye Bye Birdie", and "How To Succeed in Business Without Really Trying."
Forum won a slew of Tony's at the 1963 Awards including Best Book, Best Actor, and Best Musical. Unbelievably, Sondheim was not even nominated for his delightful score. To add insult to injury no winner that night, not even Sondheim's greatest artistic collaborator Hal Prince (the shows producer) mentioned Sondheim in their acceptance speeches. I am sure that's a wound that never quite heals.



The show has been successfully revived twice on Broadway, each time garnering a Tony for it's star (Phil Silvers and Nathan Lane respectively). It is consistently revived in stock and amateur theatre and was even filmed (somewhat unsuccessfully) by Richard Lester in the 60's. As a example of well-constructed, mid-century musical comedy "A Funny Thing Happend on the Way to the Forum" has few peers. Below is Zero Mostel hamming his way through the famous opening number "Comedy Tonight!"

Tim Burton: Pee-Wee's Big Adventure (1985)

Burton's first full length motion picture was as a director for comic persona Pee-Wee Herman(Paul Rubens), the star of a popular stage act called "The Pee-Wee Show" and later the popular Saturday morning television show "Pee-Wee's Playhouse." (How people ever thought that Pee-Wee was a character for children I'll never know.)  Though critically lambasted upon it's initial release, "Adventure" has gone on to be something of a cult classic; Burton's involvement with the project has made many look back at the film anew.  Though the movie lacks the director's signature mise en scene, it nevertheless exudes a idiosyncratic visual style and offbeat sensibility that is a good fit for both director and star. Hint's of Burton's genius are glimpsed sporadically and make the film worth watching again.  Of course, Paul Reubens is hilarious and deeply committed to the lunacy of his adenoidal, man-child character. Reason enough to watch the film right there.  Perhaps, most importantly, it was the first collaboration between Burton and composer Danny Elfman. Elfman's eerily childish timbre would be a perfect fit for a director's who's movies are grown-up realizations of (somewhat twisted) childhood fantasies. Perhaps "Adventure's" best scene is Pee-Wee's encounter with mysterious Truck Driver "Large Marge." For your viewing pleasure....

Young Frankenstein....the monster of a musical!

Well, it had to happen; didn't it? After the unprecedented commercial and critical success of "The Producers," Mel Brooks' follow up Broadway project was inevitably bound to suffer a backlash. How could "Young Frankenstein" hope to measure up to that legendary Broadway smash? However, few could have anticipated just how negative Ben Brantley would be in his New York Times review.




His diss (uncharacteristic of Mr.Brantley) on Megan Mullaly's weight is John Simon worthy. I am most upset by the lackluster reception to my secret lover Roger Bart. I have been championing this actor since I saw (and fell in love) with him in the tour of "How to Succeed in Business Without Really Trying," starring (yikes!) Ralph Macchio. After seeing Bart in "Fully Committed" off-Broadway (twice!) I officially labeled myself a full on Bart-head! He was also the only actor in the movie version of "The Producers" (which I still defend as far better than people give it credit for.)who adapted his performance for the camera with total success. I cringe to admit, however, that I agree with Brantley's view of Bart as Leo Bloom; he just looked a little lost. (Though having been around Matthew Broderick's performance as much as he had couldn't have been helpful for developing his own character!)






I was "The Producers" biggest defender. The greatest night I have ever had in a theatre was the first preview of "The Producers" in New York, March 2001. I have seen the show on Broadway no less than 7 times and regard it as one of the Great White Way's greatest and most important shows. "The Producers" revived the "comedy" in "musical comedy" and cemented cinema as the go-to breeding ground for Broadway adaptation. As a movie, "The Producers" was always begging to be a Broadway musical, given it's musical centered plot and Broadway setting."Young Frankenstein," the movie, garnered it's humor as a pastiche/spoof of Universal Studios Horror Depression-era horror FILMS. Brooks' commitment to it's cinematic style and vintage mise en Scene is what makes the low-brow Jewish humor all the more potent. As a brassy Broadway musical, "Young Frankenstein" was not begging to be made. The investment in the show is nonetheless huge. Can the producers salvage this critical whipping boy? Only time will tell. In the meantime...here is some Mel Brook's Frankenstein brillance to be remembered and enjoyed.

Daniel Day-Lewis as....Walt Disney?!?

Daniel Day-Lewis looks and sounds incredible (as always) in the trailer for "There will be Blood," the new movie by Paul Thomas Anderson based on Upton Sinclair's novel "Oil!" Where did he come up with his unique vocal cadence and tone for the movie? I couldn't figure it out, but I knew it was something specific. Then it hit me. Listen for yourself and tell me if I'm crazy!

Bobo at Murakami

I went to the new Murakami art exhibit at the Geffen museum last night and was utterly impressed. The speaker at the cocktail reception likened Murakami to a Japanese Andy Warhol and after spending a good hour amongst his works, I am inclined to agree. Subverting the hyper-active, relentlessly bright and cherry style of contemporary Anime and Manga, Murakami both celebrates the style, and mocks it's relentless cheer and lack of depth-both metaphorical and literal. My favorite piece was called "super-nova" which referenced Japanese culture's fascination with the mushroom (Super Mario Bros anyone?) and, more disturbingly, the long shadow of the Hiroshima mushroom cloud. The show is currently in Los Angeles but is touring to Brooklyn and then to Spain. I highly recommend you check it out if you are at all a fan of pop art.

Attend the Tale.....

On December 21 audiences across America are going to be blown away by long-awaited, much discussed Tim Burton film of the legendary Stephen Sondheim musical "Sweeney Todd." Bobofag has had the good fortune to catch the film in a preview screening, organized for marketing purposes. You can read all about that screening here The movie also got a rave over at Ain't It Cool News. Sure, Harry Knowles writes at a Junior High level, he nevertheless gave a review that I very much agree with. It's a spectacular movie. If there is justice in the world the film will get a best picture nod, and (finally) a nod for director Tim Burton, who has never been nominated in the category before. Johnny Depp should be a shoo-in for a nomination as well. He rose to the challenge here. And what a challenge! He had to play his most serious, emotionally volatile character ever (deep, emotionally raw performances have never been Depp's strongsuit) all the while singing one of the most vocally demanding roles in the American musical theatre. It's about time they honor this man, one of America's most gifted and versatile performers. You can read all about the movies Oscar chances here.
In anticipation of the movie I will, over the next month and a half, provide a retrospective on both the careers of Tim Burton and Stephen Sondheim. Hopefully, by the time the movie arrives in theatres you'll just pop with excitement.