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Broadway Yearbook,
2000–2001

Steven Suskin

OXFORD UNIVERSITY PRESS

Broadway Yearbook, 2000 –2001
The Broadway Yearbook Series

by Steven Suskin

Previous Titles

Broadway Yearbook, 1999 – 2000

2000
2001
BROADWAY
YEARBOOK

Steven Suskin

1
2002
 3
Oxford New York
Auckland Bangkok Buenos Aires Cape Town Chennai
Dar es Salaam Delhi Hong Kong Istanbul Karachi Kolkata
Kuala Lumpur Madrid Melbourne Mexico City Mumbai Nairobi
São Paulo Shanghai Singapore Taipei Tokyo Toronto
and an associated company in Berlin

Copyright © 2002 by Steven Suskin

Published by Oxford University Press, Inc.
198 Madison Avenue, New York, New York 10016
www.oup.com
Oxford is a registered trademark of Oxford University Press
All rights reserved. No part of this publication may be reproduced,
stored in a retrieval system, or transmitted, in any form or by any means,
electronic, mechanical, photocopying, recording, or otherwise,
without the prior permission of Oxford University Press.

All theatre program title pages and covers (except those on pages 20, 22, 74,
78, 130, and 133) reproduced courtesy of PLAYBILL®. PLAYBILL® is a registered
trademark of Playbill Incorporated. The PLAYBILL® trademark, logo, and all related trade
dress are the property of Playbill Incorporated. All rights reserved. Used by permission.
Theatre program title pages and covers on pages 20, 22, 74, 78, 130, and 133
reprinted by permission of STAGEBILL.

ISBN 0-19-514882-7; ISBN 0-19-515637-4

ISSN 1473-933X

1 3 5 7 9 8 6 4 2
Printed in the United States of America
on acid-free paper
For

Helen, Johanna,

and Charlie
This page intentionally left blank
 Contents

The Curtain Rises, 3

The Shows

June 15 Macbeth, 11

July 27 The Man Who Came to Dinner, 18

September 17 Gore Vidal’s The Best Man, 28

October 19 The Dinner Party, 37

October 24 Proof, 45

October 26 The Full Monty, 54

November 2 The Tale of the Allergist’s Wife, 61

November 13 Matters of the Heart, 68

November 14 Betrayal, 73

November 15 The Rocky Horror Show, 80

November 16 The Search for Signs of Intelligent Life

in the Universe, 87

November 30 Seussical, 94

December 10 Jane Eyre, 106

February 8 A Connecticut Yankee, 115

viii Contents

March 11 A Class Act, 122

March 15 Design for Living, 129

March 22 Bloomer Girl, 135

March 26 Judgment at Nuremberg, 143

March 29 The Invention of Love, 150

April 1 Stones in His Pockets, 157

April 5 Follies, 163

April 8 One Flew over the Cuckoo’s Nest, 174

April 12 Bells Are Ringing, 180

April 17 Blast, 188

April 19 The Producers, 196

April 24 The Gathering, 211

April 26 The Adventures of Tom Sawyer, 217

April 30 George Gershwin Alone, 224

May 1 King Hedley II, 229

May 2 42nd Street, 236

May 3 Hair, 246

Curtain Calls

Honorable Mention, 257

Tony Wrap-Up (and Other Awards), 261

Holdovers, 273

Shows That Never Reached Town, 279

Long-Run Leaders, 283

The Season’s Toll, 287

Index, 297
Broadway Yearbook, 2000 –2001
This page intentionally left blank
 The Curtain Rises

T he 2000 – 2001 season was in several ways remarkable.

Item one: Most remarkable of all, needless to say, was the
arrival of The Producers. Broadway typically has a supersmash hit or two
every decade. The 1940s had Oklahoma! and South Pacific; the 1950s had
My Fair Lady; the 1960s had Hello, Dolly! and Fiddler on the Roof; the
1970s had A Chorus Line and Annie; the 1980s had Cats and Les Mis­
érables and Phantom of the Opera; the 1990s had Rent and The Lion King.
But The Producers, in terms of immediate impact, was bigger than them
all. That is, the show itself became a news event, setting off its own media
frenzy. Nathan Lane and Matthew Broderick and Mel Brooks were sud-
denly all over the place; front pages, feature stories, magazine covers, car-
toons. There were even stories in newspapers in China, a country not
heretofore noted for its affinity for American musical comedy.
This was a mammoth hit; even people in the theatre, who have con-
nections, simply couldn’t get tickets. I’ve been around since before A
Chorus Line. While house seats on these earlier blockbusters were not
easy to come by, it was usually possible for people in the business to get at
least a pair for themselves. The Producers was such a tight ticket that
many people working in the theatre — including some on fairly high lev-
els— were simply unable to get seats during the first six months. I’ll make
an educated guess that The Producers was the hottest ticket in at least fifty
years; from what I’ve heard, South Pacific — in 1949 — might have been of
comparable stature.
Will The Producers be the most successful musical in history? Will The
Producers be the most lucrative show in history? The $100 top (thanks to
a $10 price hike on the day the reviews hit) should help them outearn
4 The Curtain Rises

shows like Dolly (which opened at $9.40). But it is unlikely, in my view,

for The Producers to approach the profit levels of Cats and Les Misérables
and Phantom of the Opera; these imports were built for mass production in
multiple languages, while The Producers calls for special talents and prob-
ably won’t translate as well. But as for the effect of a show on its place and
time, I don’t suppose Broadway has ever seen anything like The Producers.
Item two: Let us look at the past ten seasons, specifically, the new
American plays that made money. (This list includes new American plays
only — no imports, revivals, solo shows, or attractions produced by non-
profit theatres.)
The 1990 – 1991 season had one, Neil Simon’s Lost in Yonkers. The
1995 – 1996 season had one, Terrence McNally’s Master Class. The 1996 –
1997 season had one, Alfred Uhry’s The Last Night of Ballyhoo. The new
play hits of 1997 – 1998 and 1998 – 1999 and 1999 – 2000 were all imports.
(Dirty Blonde, the final play of 1999 – 2000, reported a profit in Variety but
appears to have ended its Broadway engagement in the red.)
That gives us only three moneymaking new American plays in ten full
years. In 2000 – 2001, in a two-week stretch alone, there were three —
count ’em — three. And they did not merely break even: Neil Simon’s The
Dinner Party, David Auburn’s Proof, and Charles Busch’s The Tale of the
Allergist’s Wife garnered sizable profits, with recoupment coming in each
case in less than twelve weeks. Three in ten years; three in two weeks. Re-
markable.
I have not included revivals in this equation; it should be pointed out
that two profitable revivals were also simultaneously on the boards, Gore
Vidal’s The Best Man and Lily Tomlin and Jane Wagner’s The Search for
Signs of Intelligent Life in the Universe. (The Best Man, like Dirty Blonde, re-
ported a profit in Variety but apparently closed with a small deficit.) All
five shows opened within two months. There is only a limited audience
for nonmusical shows on Broadway; at least, that’s what they’ve always
told us. Suddenly, enough cash-bearing theatregoers materialized to pa-
tronize them all.
Item three: The Shuberts are Broadway’s most productive producers
ever, with something like 650 productions since the firm’s founders came
to town in 1901. Lee Shubert, the most powerful of the brothers, died on
Christmas Day 1953. Three weeks later, the final Shubert-produced show
of the era opened at the Royale (and closed the same day). It wasn’t until
1976 that the Shubert Organization — as we now know it — picked up
the gauntlet, starting with shows like Sly Fox, Amadeus, Ain’t Misbehavin’,
 The Curtain Rises 5

and Cats. The 2000 – 2001 season marked the first season in twenty-four
years in which the Shuberts did not produce a single Broadway show.
(They did produce two in 1999 – 2000 and planned at least one for
2001– 2002.)
Item four: The 1999 – 2000 season was remarkable for a three-day
stretch — April 14 through 16 — when for the only time in memory each
and every Broadway theatre had a show on the boards. This record was
almost, but not quite, surpassed in 2000 – 2001. Thirty-seven houses —
including Broadway’s newest, the American Airlines Theatre — were lit
for a full four weeks, from April 16 through May 13. One was dark,
though; the Winter Garden, which was undergoing a full-scale renova-
tion (and fumigation) in preparation for its fall 2001 booking, Mamma
Mia. Perhaps this lack of empty theatres to fill helps explain the Shubert
Organization’s absence from the producing ranks in 2000 – 2001. Or was it
simply a reaction to the Patrick Stewart affair, in which the actor publicly
attacked the Shuberts from the stage of The Ride Down Mt. Morgan in
April 2000?
Item five: The Producers, again. Broadway musicals are a life-and-death
matter to die-hard theatre fans; but a Broadway musical making world-
wide news? In the twenty-first century, when you’re unlikely to hear a
new show tune on the radio, ever? Hard to believe, and remarkable.

Broadway Yearbook, 2000 – 2001 presents an analytical discussion of each

show that opened on Broadway between May 29, 2000, and May 27,
2001. I have also deemed it fitting to include certain non-Broadway pro-
ductions of importance, namely, the City Center Encores! series. The
shows are discussed in chronological order; an alphabetical arrangement
might make it easier to browse through to find a specific show, but it
seems pertinent to have the reader discover each show in the same order
as the critics and theatregoers. Timing — that is, the competition on the
date of opening — was a significant factor in the reception and fate of
some of this season’s offerings.
The opening night credits and cast list are accompanied by a discus-
sion of the production. I neither ask nor expect the reader to necessarily
agree with my opinions. You will no doubt concur with some and not
others — hopefully more of the former than the latter. Taste is individual,
or at least it should be. I have tried to be consistent in my opinions and to
support my arguments (in the nonargumentative sense of the word). It is
one thing to turn thumbs up or thumbs down; it is another thing to ex-
6 The Curtain Rises

plain why the thumb is nudged toward the heavens or the opposite. Or
someplace in between.
My aim has been to keep things informative and instructive; hence, the
discussion is laced with examples from general Broadway history (and my
checkered twenty-five years on and around Forty-fourth Street). What
were the shows like? How were they received, by both the critics and the
audiences? What other factors contributed to their success or failure?
The discussion of each show is followed by a section of related data,
starting with dates and length of run. Performance and preview totals
have been compiled using information from the League of American
Theatres and Producers. In some cases these differ from the “official”
counts distributed by press agents; I consider the League tabulation —
reported week by week, along with the grosses — to be more accurate.
Profit-and-loss information comes from a variety of sources, including the
invaluable Variety. Shows from nonprofit organizations have been simi-
larly classified where applicable, based on an estimate of surplus income
generated by the production. It should be understood that a show that
ends its Broadway run with a loss might well make up the difference from
post-Broadway income. Conversely, it is not unknown for a show to have
recouped its costs but — due to an overextended run or unforeseen tour-
ing costs — to slip back into a deficit.
Shows that were still running on May 28, 2001— the first day of the
2001– 2002 season — are so indicated. (For the sake of completeness,
closing dates and performance totals are included for shows that ran into
2001– 2002 but closed before this book went to print.) Next comes the
critical scorecard, which gives the reader a general idea of the critical re-
ception of each production. The scorecards are based on the opinions of
seven to ten critics from major newspapers and magazines. The number of
reviews varies; not all attractions were covered by all the critics. (In a few
“special” cases, productions discussed herein were reviewed by only a
handful of reviewers.) The scorecards reflect the opinions of the critics
from the New York Times, the Daily News, the New York Post, Newsday,
the Associated Press, Variety, the Village Voice, and New York Magazine.
Weekly magazines that offer occasional reviews, such as Newsweek, Time,
and the New Yorker, were also included in some of the tabulation.
Reviews have been rated in five categories:

Rave Overwhelmingly positive, enthusiastically indicating

that the show should be seen
 The Curtain Rises 7

Favorable Positive, indicating that the show is good though not

outstanding, or that the show is good despite minor
flaws
Mixed Positive and negative aspects are presented, with no
overall recommendation; sometimes the reviewer is
simply unclear
Unfavorable Negative, indicating that the show doesn’t work —
often despite positive elements or good intentions
Pan Overwhelmingly negative, indicating — often with a
hint of annoyance — that the show was downright bad

Quite a few of the reviews fall somewhere between two categories. I have
called ’em like I see ’em, although a pollster would probably say that there
is a two-point margin of error.
A brief financial section gives the reader an idea of the show’s eco-
nomic performance. Figures, again, have been compiled using informa-
tion from the League of American Theatres and Producers. Finally, Tony
Awards (and nominations) received by the show and its personnel are
listed, along with other major awards.
Following the main body of the book are six appendixes that, it is
hoped, will prove a useful supplement to the discussion of the season.
And so the curtain rises, as they say, on Broadway Yearbook, 2000 –
2001.
See you at the theatre.
This page intentionally left blank
The Shows
This page intentionally left blank
 JUNE 15

Macbeth

W ord from Boston spread around town on the afternoon of

May 31 that Kelsey Grammer’s Macbeth — the first new
Broadway show of the season — was about to disband its band of witches
and shutter four days later, on Tony Award Sunday. This in the face of the
worst pre-Broadway reviews in — well, nine weeks, when Elaine May’s
Taller Than a Dwarf met similar resistance from the same critics at the
same theatre in the same town.
Terry Byrne of the Boston Herald noted that the play — which “usually
incites gut-wrenching terror, sadness and, finally, redemption”— in Gram-
mer’s hands “elicits only snickers and the kind of horror that comes from
seeing a production go completely awry.” Ed Siegel in the Boston Globe
called it a “two-hour freight train of an adaptation.” Markland Taylor
of Variety called it “a reasonably competent, underlit staged reading,”
finding the star “a stolid, somewhat flat-footed middle-class, middle-aged
man.”
Here, you had a surefire crowd nonpleaser. But you also had a major
television star in tow. A TV star who, presumably, was likely to sell a cer-
tain number of tickets on the
basis of his name. What’s a pro- It did not take three weird sisters, or a
ducer to do? It takes a certain theatre-producing genius, to forecast
amount of integrity to simply re- that lousy reviews for the show—and
turn that ticket money, to admit condescending ones for the star—
that the TV star was ill served
awaited on Broadway.
and his fans would no doubt be
bored silly. To say, in effect, “We’re not going to stick you even though
we’ve already got your money in our bank account.”
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