THE ACT
1977 Original Broadway Production
Majestic Theatre, New York, NY
Majestic Theatre, New York, NY
First Preview
Opening Date Closing Date Previews Performances |
October 22, 1977
October 29, 1977 July 1, 1978 6 233 |
THE SHUBERT ORGANIZATION
presents
A FEUER & MARTIN PRODUCTION
LIZA MINNELLI
Also starring
BARRY NELSON
with
ARNOLD SOBOLOFF
GAYLE CROFOOT ROGER MINAMI CHRISTOPHER BARRETT
and
MARK GODDARD
CLAUDIA ASBURY WAYNE CILENTO CAROL ESTEY MICHAEL LEEDS
LAURIE DAWN SKINNER ALBERT STEPHENSON BRAD WITSGER
Book by
GEORGE FURTH
Music by
JOHN KANDER
Miss Minnelli's Hairstyles
SYDNEY GUILAROFF |
Lyrics by
FRED EBB
Production Stage Manager
PHIL FRIEDMAN |
Choreography by
RON LEWIS
Directed by
MARTIN SCORSESE
RON LEWIS
Directed by
MARTIN SCORSESE
Synopsis
Lorem ipsum dolor sit amet, consetetur sadipscing elitr, sed diam nonumy eirmod tempor invidunt ut labore et dolore magna aliquyam erat, sed diam voluptua. At vero eos et accusam et justo duo dolores et ea rebum. Stet clita kasd gubergren, no sea takimata sanctus est Lorem ipsum dolor sit amet. Lorem ipsum dolor sit amet, consetetur sadipscing elitr, sed diam nonumy eirmod tempor invidunt ut labore et dolore magna aliquyam erat, sed diam voluptua. At vero eos et accusam et justo duo dolores et ea rebum. Stet clita kasd gubergren, no sea takimata sanctus est Lorem ipsum dolor sit amet.
Lorem ipsum dolor sit amet, consetetur sadipscing elitr, sed diam nonumy eirmod tempor invidunt ut labore et dolore magna aliquyam erat, sed diam voluptua. At vero eos et accusam et justo duo dolores et ea rebum. Stet clita kasd gubergren, no sea takimata sanctus est Lorem ipsum dolor sit amet. Lorem ipsum dolor sit amet, consetetur sadipscing elitr, sed diam nonumy eirmod tempor invidunt ut labore et dolore magna aliquyam erat, sed diam voluptua. At vero eos et accusam et justo duo dolores et ea rebum. Stet clita kasd gubergren, no sea takimata sanctus est Lorem ipsum dolor sit amet.
Lorem ipsum dolor sit amet, consetetur sadipscing elitr, sed diam nonumy eirmod tempor invidunt ut labore et dolore magna aliquyam erat, sed diam voluptua. At vero eos et accusam et justo duo dolores et ea rebum. Stet clita kasd gubergren, no sea takimata sanctus est Lorem ipsum dolor sit amet. Lorem ipsum dolor sit amet, consetetur sadipscing elitr, sed diam nonumy eirmod tempor invidunt ut labore et dolore magna aliquyam erat, sed diam voluptua. At vero eos et accusam et justo duo dolores et ea rebum. Stet clita kasd gubergren, no sea takimata sanctus est Lorem ipsum dolor sit amet.
Cast
in order of appearance
Lenny Kanter
Michelle Craig Nat Schreiber Dan Connors Arthur Charley Price Molly Connors The Boys The Girls |
CHRISTOPHER BARRETT *
LIZA MINNELLI ARNOLD SOBOLOFF * BARRY NELSON * ROGER MINAMI MARK GODDARD * GAYLE CROFOOT WAYNE CILENTO MICHAEL LEEDS ROGER MINAMI ALBERT STEPHENSON CAROL ESTEY LAURIE DAWN SKINNER |
Dance Alternates
CLAUDIA ASBURY
BRAD WITSGER
Standbys and Understudies
CLAUDIA ASBURY
BRAD WITSGER
Standbys and Understudies
Standby for Mr. Nelson
Dan Connors, Nat Schreiber, Charley Price Molly Connors Dance Standby for Miss Minnelli |
MACE BARRETT
CHRISTOPHER BARRETT LAURIE DAWN SKINNER CLAUDIA ASBURY |
* non-singing role
For full artist biographies and photos and a list of additional or replacement cast members click here
For full artist biographies and photos and a list of additional or replacement cast members click here
Musical Numbers
ACT I
SHINE IT ON Michelle Craig and Chorus IT'S THE STRANGEST THING Michelle Craig BOBO'S Michelle Craig and Dancers TURNING (SHAKER HYMN) Michelle Craig and Chorus LITTLE DO THEY KNOW Boys and Girls ARTHUR IN THE AFTERNOON Michelle Craig and Arthur HOLLYWOOD, CALIFORNIA * Michelle Craig and Dancers THE MONEY TREE Michelle Craig |
ACT II
CITY LIGHTS Michelle Craig and Chorus THERE WHEN I NEED HIM Michelle Craig HOT ENOUGH FOR YOU? Michelle Craig and Chorus LITTLE DO THEY KNOW (Reprise) Boys and Girls FINALE (WALKING PAPERS) Michelle Craig MY OWN SPACE Michelle Craig |
* cut after opening
The Music
Lorem ipsum dolor sit amet, consetetur sadipscing elitr, sed diam nonumy eirmod tempor invidunt ut labore et dolore magna aliquyam erat, sed diam voluptua. At vero eos et accusam et justo duo dolores et ea rebum. Stet clita kasd gubergren, no sea takimata sanctus est Lorem ipsum dolor sit amet. Lorem ipsum dolor sit amet, consetetur sadipscing elitr, sed diam nonumy eirmod tempor invidunt ut labore et dolore magna aliquyam erat, sed diam voluptua. At vero eos et accusam et justo duo dolores et ea rebum. Stet clita kasd gubergren, no sea takimata sanctus est Lorem ipsum dolor sit amet.
Cut songs
and additional musical numbers
Kander & Ebb wrote a number of songs for THE ACT that were either cut from the show or not used at all. Most of these songs can be found on the Composers' Demo Recording of the show performed by Kander & Ebb themselves (see Recordings).
Two songs that were originally used in other projects - namely "Isn't This Better?" (from the movie FUNNY LADY) and "There Goes The Ball Game" (from the movie NEW YORK, NEW YORK) - were at one point considered to be part of the score for THE ACT but then cut again prior to opening.
Another song, "Hollywood, California", was still part of the score when the show opened on Broadway but then got cut after opening night and is thus also omitted from the Original Broadway Cast Recording.
Two songs that were originally used in other projects - namely "Isn't This Better?" (from the movie FUNNY LADY) and "There Goes The Ball Game" (from the movie NEW YORK, NEW YORK) - were at one point considered to be part of the score for THE ACT but then cut again prior to opening.
Another song, "Hollywood, California", was still part of the score when the show opened on Broadway but then got cut after opening night and is thus also omitted from the Original Broadway Cast Recording.
GOOD THING GOING
(cut)
HANG IN THERE
(not used)
HOLLYWOOD, CALIFORNIA
(cut after opening)
I'M NOT ON LOVE TODAY
(not used)
ISN'T THIS BETTER?
(cut prior to opening; originally used in the movie FUNNY LADY)
JUST WHEN YOU LEAST EXPECT IT *
(cut)
LOVE SONGS (CONTRADICTIONS)
(not used)
THE ONLY GAME IN TOWN
(cut)
PLEASE, SIR
(cut)
THE PRINCESS *
(cut)
THERE GOES THE BALL GAME
(cut; originally used in the movie NEW YORK, NEW YORK)
* unrecorded songs
(cut)
HANG IN THERE
(not used)
HOLLYWOOD, CALIFORNIA
(cut after opening)
I'M NOT ON LOVE TODAY
(not used)
ISN'T THIS BETTER?
(cut prior to opening; originally used in the movie FUNNY LADY)
JUST WHEN YOU LEAST EXPECT IT *
(cut)
LOVE SONGS (CONTRADICTIONS)
(not used)
THE ONLY GAME IN TOWN
(cut)
PLEASE, SIR
(cut)
THE PRINCESS *
(cut)
THERE GOES THE BALL GAME
(cut; originally used in the movie NEW YORK, NEW YORK)
* unrecorded songs
Recordings
THE ACT
Original Broadway Cast Recording
Original Broadway Cast Recording
An original cast album was released by DRG Records in 1978. The LP includes all of the songs from the score (with the exception of "Hollywood, California" which was cut after opening night) performed by the original Broadway cast.
Some songs were slightly edited for the recording, eliminating all dialogue and being trimmed down to a more classical song form.
Also, the song order was slightly different from the performance where "My Own Space" was performed as a kind of faux encore, following the finale ("Walking Papers").
The album was released on CD in 1990 by DRG Records with several subsequent re-releases by other labels, all of which changed the artwork (and sometimes the title) and labelled it as a Liza Minnelli solo album rather than an Original Broadway Cast Recording of the show.
John Kander himself is featured on the recording, playing the piano in "My Own Space".
Additional Recordings
Several songs from THE ACT were subsequently recorded by other artists and appear on various recordings.
For a full list of recordings, click here.
For a full list of recordings, click here.
As with most of their shows, Kander & Ebb recorded demo versions of the score before the show went into production. This Demo Recording includes most of the numbers that were later cut from or not used in the show plus many early drafts of the dialogue. All songs on this recording are performed by Fred Ebb (vocals) and John Kander (piano and additional vocals).
THE ACT
Composer Demo 01. Shine It On 02. My Own Space 03. Bobo's 04. It's The Strangest Thing 05. Arthur In The Afternoon 06. Good Thing Going * 07. Little Do They Know 08. Hang In There * 09. I'm Not In Love Today / Love Songs (Contradictions) * 10. Hollywood, California * 11. Please, Sir * 12. Little Do They Know (Reprise) 13. Walking Papers 14. The Only Game In Town * * cut or unused songs |
THE ACT
Composer Demo 01. Shine It On 02. My Own Space 03. Bobo's 04. It's The Strangest Thing 05. Arthur In The Afternoon 06. Good Thing Going * 07. Little Do They Know 08. Hang In There * 09. I'm Not In Love Today / Love Songs (Contradictions) * 10. Hollywood, California * 11. Please, Sir * 12. Little Do They Know (Reprise) 13. Walking Papers 14. The Only Game In Town * * cut or unused songs |
Additional Recordings
A number of songs that were initially written for but then cut from or not used in THE ACT were recorded by various artists and released on their solo albums or on different compilations. A selection of these recordings, certainly incomplete, follows:
About the show
Excerpt from "Kander & Ebb", written by James Leve
© 2009 Yale University Press
© 2009 Yale University Press
THE ACT contains all of the hallmarks of a Kander and Ebb musical. It is a story about the survival of an actress down on her luck and told in the form of a Las Vegas nightclub act.
The score, some of it excellent, consists mainly of the songs she performs during her act. We have seen similar structures in CABARET, CHICAGO, and 70, GIRLS, 70.
Unfortunately, in the case of THE ACT the show-within-a-show framework did not transcend itself enough to appear to be more than a venue for Minnelli to sing and dance and emote. Nor does the showbiz venue serve as an effective metaphor for the heroine’s life.
THE ACT (1977) was conceived by Marvin Hamlisch, who wanted to split the music with Kander and use Ebb as their mutual lyricist. Kander and Ebb were uninterested in such an arrangement, but they liked the idea enough to write the entire musical themselves.
Supposedly based on the life of Shirley MacLaine, THE ACT is about the comeback of a once in-demand movie star named Michelle Craig (originally Mayer). Film offers have dried up, so she has decided to do a Las Vegas nightclub act. The idea seemed ideal for Minnelli, who insisted that Scorsese direct, despite the producers’ reservations.
THE ACT went through a shaky four-month out-of-town period, playing Chicago, San Francisco, and Los Angeles, in each city under a different title, respectively, IN PERSON, SHINE IT ON, and THE ACT. The title was not the only thing that changed. Stanley Donen was going to write the script, but George Furth took over.
The most drastic change, however, was the unpublicized replacement of Scorsese with Gower Champion. Scorsese’s experience in film did not prepare him to direct a Broadway musical, and, by all accounts, he was uninterested in learning. According to Cy Feuer, “The biggest problem was that he [Scorsese] didn’t understand staging. He couldn’t figure out how to bring actors on and off, how to set up a scene.” To make matters worse, Scorsese and Minnelli were getting high after rehearsals, which began to affect the company’s morale.
When Feuer decided to replace Scorsese, he first approached Michael Bennett about taking over, but the director was either unavailable or unwilling to do so. Feuer eventually convinced Gower Champion to intervene but only on the condition that he not get directorial credit. In lieu of marquee billing, the published script for THE ACT is “lovingly and gratefully dedicated to Gower Champion."
George Furth came up with a concept of a nightclub act that opens up into book scenes, an inversion of the backstage musical formula. An explanatory note in the published script reads: “Whereas in most musical comedies the procedure is to break from the book into musical numbers, in this production the procedure will be to break from the night club act into the book.”
The action also shifts between the past and present. Scenes from the past focus on Michelle’s marriage to Dan, which collapses because of Michelle’s overdependence on him. During her nightclub act, which takes place in the present, Michelle sings, dances, jokes, and tells autobiographical stories to her fans, sometimes in the form of flashbacks. The confessional tone and nightclub setting seem just right for Ebb’s experience as a producer of television specials and Minnelli’s ingratiating stage personae.
Kander and Ebb originally conceived of the score as a real nightclub act without any direct reference to the plot, but Champion wanted more emotional return from the music. He thus recontextualized the musical numbers within the story of Michelle’s life, allowing them to perform double duty as diegetic songs and book songs.
The opening number of THE ACT is also the opening of Michelle’s Las Vegas debut, a tightly wound, disco-inflected song called “Shine It On.” After the applause, Michelle starts to recount her life, speaking directly to the Las Vegas audience. Her delivery recalls the rehearsed spontaneity and mannered intimacy of Minnelli’s concerts. At one point, Michelle unctuously announces that her ex-husband Dan is in the audience.
Michelle’s next number, “It’s The Strangest Thing,” which Kander and Ebb salvaged from their Horatio Alger musical, is a touching ballad that alludes to events in Michelle’s life. A flashback occurs midway through the song, taking us back to an audition during which Michelle sang the same song for Dan. It is an effective use of a cinematic device.
The critics accused George Furth of writing a thin, ineffectual book, which failed to elevate what was essentially a nightclub act to the level of musical theater. Ironically, Furth had originally included intricate backstories, but under Scorsese’s direction they were cut in favor of more night club scenes.
According to Tony Walton, who designed the sets for THE ACT, Scorsese eliminated the most interesting parts of Furth’s script, but the playwright chose the path of least resistance, and by the time Champion took over it was too late to salvage the cut scenes.
Despite mixed reviews, audiences were willing to come as long as Minnelli showed up, even paying $25 for a Saturday night orchestra seat, a recordsetting figure at the time.
By most accounts, Minnelli was wonderful and entirely dedicated to the show. Even though her larger-than-life personality negated the character she was playing, the book was so superficial that the audience did not seem to care. (Minnelli had no understudy, so performances had to be canceled whenever she was unable to perform, which was not infrequent.)
Edwin Wilson noted that “The role [of Michelle] is not a vehicle for Miss Minnelli; only a kind of costume to set her off. It takes her nowhere. She is just the same—and this is the mark of cabaret—at the end as at the beginning.” This is not the kind of endorsement that the producers needed in order to keep the show running after Minnelli’s departure.
In 1994 the actor and director Walter Painter started working with George Furth on a revised version of THE ACT. In order to make the musical more viable, they distanced it as much as possible from the aura of Minnelli.
They changed the title to COMEBACK, renamed the protagonist Michelle McNally, and changed the venue from a Las Vegas nightclub to a concert stage. They left the score mostly intact, but Painter hoped to convince Kander and Ebb to write a couple of new songs. Painter contacted Shirley MacLaine about the possibility of starring in this version, but the project has been put on hold indefinitely.
Kander never entirely embraced THE ACT and wondered why anyone would care about two protagonists who do nothing but argue. However, THE ACT marks an important moment in his life. He met Albert Stephenson, one of the dancers in the show, and they have been together ever since.
The score, some of it excellent, consists mainly of the songs she performs during her act. We have seen similar structures in CABARET, CHICAGO, and 70, GIRLS, 70.
Unfortunately, in the case of THE ACT the show-within-a-show framework did not transcend itself enough to appear to be more than a venue for Minnelli to sing and dance and emote. Nor does the showbiz venue serve as an effective metaphor for the heroine’s life.
THE ACT (1977) was conceived by Marvin Hamlisch, who wanted to split the music with Kander and use Ebb as their mutual lyricist. Kander and Ebb were uninterested in such an arrangement, but they liked the idea enough to write the entire musical themselves.
Supposedly based on the life of Shirley MacLaine, THE ACT is about the comeback of a once in-demand movie star named Michelle Craig (originally Mayer). Film offers have dried up, so she has decided to do a Las Vegas nightclub act. The idea seemed ideal for Minnelli, who insisted that Scorsese direct, despite the producers’ reservations.
THE ACT went through a shaky four-month out-of-town period, playing Chicago, San Francisco, and Los Angeles, in each city under a different title, respectively, IN PERSON, SHINE IT ON, and THE ACT. The title was not the only thing that changed. Stanley Donen was going to write the script, but George Furth took over.
The most drastic change, however, was the unpublicized replacement of Scorsese with Gower Champion. Scorsese’s experience in film did not prepare him to direct a Broadway musical, and, by all accounts, he was uninterested in learning. According to Cy Feuer, “The biggest problem was that he [Scorsese] didn’t understand staging. He couldn’t figure out how to bring actors on and off, how to set up a scene.” To make matters worse, Scorsese and Minnelli were getting high after rehearsals, which began to affect the company’s morale.
When Feuer decided to replace Scorsese, he first approached Michael Bennett about taking over, but the director was either unavailable or unwilling to do so. Feuer eventually convinced Gower Champion to intervene but only on the condition that he not get directorial credit. In lieu of marquee billing, the published script for THE ACT is “lovingly and gratefully dedicated to Gower Champion."
George Furth came up with a concept of a nightclub act that opens up into book scenes, an inversion of the backstage musical formula. An explanatory note in the published script reads: “Whereas in most musical comedies the procedure is to break from the book into musical numbers, in this production the procedure will be to break from the night club act into the book.”
The action also shifts between the past and present. Scenes from the past focus on Michelle’s marriage to Dan, which collapses because of Michelle’s overdependence on him. During her nightclub act, which takes place in the present, Michelle sings, dances, jokes, and tells autobiographical stories to her fans, sometimes in the form of flashbacks. The confessional tone and nightclub setting seem just right for Ebb’s experience as a producer of television specials and Minnelli’s ingratiating stage personae.
Kander and Ebb originally conceived of the score as a real nightclub act without any direct reference to the plot, but Champion wanted more emotional return from the music. He thus recontextualized the musical numbers within the story of Michelle’s life, allowing them to perform double duty as diegetic songs and book songs.
The opening number of THE ACT is also the opening of Michelle’s Las Vegas debut, a tightly wound, disco-inflected song called “Shine It On.” After the applause, Michelle starts to recount her life, speaking directly to the Las Vegas audience. Her delivery recalls the rehearsed spontaneity and mannered intimacy of Minnelli’s concerts. At one point, Michelle unctuously announces that her ex-husband Dan is in the audience.
Michelle’s next number, “It’s The Strangest Thing,” which Kander and Ebb salvaged from their Horatio Alger musical, is a touching ballad that alludes to events in Michelle’s life. A flashback occurs midway through the song, taking us back to an audition during which Michelle sang the same song for Dan. It is an effective use of a cinematic device.
The critics accused George Furth of writing a thin, ineffectual book, which failed to elevate what was essentially a nightclub act to the level of musical theater. Ironically, Furth had originally included intricate backstories, but under Scorsese’s direction they were cut in favor of more night club scenes.
According to Tony Walton, who designed the sets for THE ACT, Scorsese eliminated the most interesting parts of Furth’s script, but the playwright chose the path of least resistance, and by the time Champion took over it was too late to salvage the cut scenes.
Despite mixed reviews, audiences were willing to come as long as Minnelli showed up, even paying $25 for a Saturday night orchestra seat, a recordsetting figure at the time.
By most accounts, Minnelli was wonderful and entirely dedicated to the show. Even though her larger-than-life personality negated the character she was playing, the book was so superficial that the audience did not seem to care. (Minnelli had no understudy, so performances had to be canceled whenever she was unable to perform, which was not infrequent.)
Edwin Wilson noted that “The role [of Michelle] is not a vehicle for Miss Minnelli; only a kind of costume to set her off. It takes her nowhere. She is just the same—and this is the mark of cabaret—at the end as at the beginning.” This is not the kind of endorsement that the producers needed in order to keep the show running after Minnelli’s departure.
In 1994 the actor and director Walter Painter started working with George Furth on a revised version of THE ACT. In order to make the musical more viable, they distanced it as much as possible from the aura of Minnelli.
They changed the title to COMEBACK, renamed the protagonist Michelle McNally, and changed the venue from a Las Vegas nightclub to a concert stage. They left the score mostly intact, but Painter hoped to convince Kander and Ebb to write a couple of new songs. Painter contacted Shirley MacLaine about the possibility of starring in this version, but the project has been put on hold indefinitely.
Kander never entirely embraced THE ACT and wondered why anyone would care about two protagonists who do nothing but argue. However, THE ACT marks an important moment in his life. He met Albert Stephenson, one of the dancers in the show, and they have been together ever since.
Press & Reviews
"THE ACT continues to please, despite critics"
Independent, Oct. 3, 1977
By Bob Thomas, Associated Press
Independent, Oct. 3, 1977
By Bob Thomas, Associated Press
Critics generally dislike it. Audiences seem to enjoy it. The pattern is likely to be repeated when Liza Minnelli opens THE ACT on Broadway on Oct. 29. THE ACT, formerly SHINE IT ON and before that, IN PERSON, is the most written- and talked-about stage musical in recent times. Most of the writing and talk has been bad, yet the show has been virtually a sell-out in Chicago, San Francisco and now at the Los Angeles Music Center.
"I'm amazed at the reaction" says Ernest Martin, who with partner Cy Feuer has produced GUYS AND DOLLS, SILK STOCKINGS and other hits. "Ordinarily, you open a show quietly in a small town and proceed normally to opening night on Broadway. This show has been in a goldfish bowl every minute. I believe there has been more tumult and excitement than are warranted by the facts. But listen, controversy only creates ticket sales, and the show has played to full houses every performance." Martin reported that THE ACT has already recovered half of its $800,000 cost. "Barring rejection by New York audiences, we are guaranteed financial success at this point," said the producer.
Minnelli is contracted for 39 weeks in New York, where operating costs will be substantially lower than on the road. The show has been booked into the Majestic, which housed SOUTH PACIFIC and other big hits.
THE ACT is a show within a show, and its form has confused audiences as well as critics. Minnelli plays Michelle Craig, a Hollywood star who tries to cure her career and personal doldrums by appearing in a splashy Las Vegas act. Interwoven with the musical numbers are scenes with her producer-husband, Barry Nelson, a boyfriend, Mark Goddard, a songwriter, Arnold Soboloff, and others.
The troubles started in Chicago, where the transitions from onstage to the personal story didn't work. Neither did the costumes. Thea Van Runkle, who had just worked with Liza and director Martin Scorsese in NEW YORK, NEW YORK bowed out for a film assignment. She was replaced by Halston.
For the San Francisco run, author George Furth (COMPANY, TWIGS) wrote a more serious approach to the story, John Kander and Fred Ebb (CABARET) supplied new songs. Cumbersome scenery was scrapped, along with the title, IN PERSON, which made the show sound like a concert. "Everyone agreed that the title should be THE ACT, which is what the show is all about," explained Martin. "But A.C.T. - the American Conservatory Theater - is well established in San Francisco. To avoid confusion, we chose the title of the opening song, SHINE IT ON.
Film maker Scorsese (TAXI DRIVER) had never worked on the stage before, and some of the on-the-job training proved difficult. But he has shown himself to be "a tough little guy," said Martin, and Scorsese has stuck with THE ACT despite personal travails. At the party following the Los Angeles premiere, the director admitted his marriage to Julia Cameron had ended. "That added to rumors about the show," Martin added. "Liza was supposed to be having a romance with Martie. But I know for a fact that his marriage was over when Martie started the show. And Liza is living at home with Jack Haley, Jr."
The show's creators are striving to simplify the book before the New York opening. Running time is still five to seven minutes too long. But where to cut? "Audience reaction has been strong in Los Angeles - when something's working, you wonder, 'Should we take it out?'".
Martin views the star of THE ACT with admiration and wonderment. "Liza is the ultimate professional. She is onstage for the whole show, except for two brief periods, and she never lets down. When she gets a cold house, as is inevitable with any show, she puts forth added effort until she wins them over. She is absolutely athletic; she hasn't even had a cold since we started in May. I never saw Al Jolson perform on a stage, but I've been told that Liza is the closest thing to Jolson in her magnetism in the theater."
"I'm amazed at the reaction" says Ernest Martin, who with partner Cy Feuer has produced GUYS AND DOLLS, SILK STOCKINGS and other hits. "Ordinarily, you open a show quietly in a small town and proceed normally to opening night on Broadway. This show has been in a goldfish bowl every minute. I believe there has been more tumult and excitement than are warranted by the facts. But listen, controversy only creates ticket sales, and the show has played to full houses every performance." Martin reported that THE ACT has already recovered half of its $800,000 cost. "Barring rejection by New York audiences, we are guaranteed financial success at this point," said the producer.
Minnelli is contracted for 39 weeks in New York, where operating costs will be substantially lower than on the road. The show has been booked into the Majestic, which housed SOUTH PACIFIC and other big hits.
THE ACT is a show within a show, and its form has confused audiences as well as critics. Minnelli plays Michelle Craig, a Hollywood star who tries to cure her career and personal doldrums by appearing in a splashy Las Vegas act. Interwoven with the musical numbers are scenes with her producer-husband, Barry Nelson, a boyfriend, Mark Goddard, a songwriter, Arnold Soboloff, and others.
The troubles started in Chicago, where the transitions from onstage to the personal story didn't work. Neither did the costumes. Thea Van Runkle, who had just worked with Liza and director Martin Scorsese in NEW YORK, NEW YORK bowed out for a film assignment. She was replaced by Halston.
For the San Francisco run, author George Furth (COMPANY, TWIGS) wrote a more serious approach to the story, John Kander and Fred Ebb (CABARET) supplied new songs. Cumbersome scenery was scrapped, along with the title, IN PERSON, which made the show sound like a concert. "Everyone agreed that the title should be THE ACT, which is what the show is all about," explained Martin. "But A.C.T. - the American Conservatory Theater - is well established in San Francisco. To avoid confusion, we chose the title of the opening song, SHINE IT ON.
Film maker Scorsese (TAXI DRIVER) had never worked on the stage before, and some of the on-the-job training proved difficult. But he has shown himself to be "a tough little guy," said Martin, and Scorsese has stuck with THE ACT despite personal travails. At the party following the Los Angeles premiere, the director admitted his marriage to Julia Cameron had ended. "That added to rumors about the show," Martin added. "Liza was supposed to be having a romance with Martie. But I know for a fact that his marriage was over when Martie started the show. And Liza is living at home with Jack Haley, Jr."
The show's creators are striving to simplify the book before the New York opening. Running time is still five to seven minutes too long. But where to cut? "Audience reaction has been strong in Los Angeles - when something's working, you wonder, 'Should we take it out?'".
Martin views the star of THE ACT with admiration and wonderment. "Liza is the ultimate professional. She is onstage for the whole show, except for two brief periods, and she never lets down. When she gets a cold house, as is inevitable with any show, she puts forth added effort until she wins them over. She is absolutely athletic; she hasn't even had a cold since we started in May. I never saw Al Jolson perform on a stage, but I've been told that Liza is the closest thing to Jolson in her magnetism in the theater."
"Um jeden Preis"
German magazine Der Spiegel, Dec. 12, 1977
Liza Minnelli am Scheideweg zwischen Darstellungskunst und Show-Klamauk:
Ihr neues New Yorker Musical THE ACT wird von der Kritik abgegelehnt, vom Publikum bejubelt.
German magazine Der Spiegel, Dec. 12, 1977
Liza Minnelli am Scheideweg zwischen Darstellungskunst und Show-Klamauk:
Ihr neues New Yorker Musical THE ACT wird von der Kritik abgegelehnt, vom Publikum bejubelt.
Als Kraftakt ist Liza Minnellis New Yorker Musical THE ACT in der Tat imponierend. Kein einziges Theaterstück wurde bislang in den USA - bei Probeaufführungen in Chicago, San Francisco und Los Angeles - im vorhinein so grimmig verrissen wie dieses, keinem widerfuhr dennoch am Broadway ein so großer Premierenerfolg.
Schon auf der 15wöchigen Provinztournee hatte THE ACT, an dem fortwährend noch gearbeitet wurde, gut die Hälfte der einen Million Dollar Produktionskosten wieder eingespielt. Beim Start in New York waren, trotz des Rekord-Eintrittspreises von 25 Dollar, bereits für zwei Millionen Dollar Tickets im Vorverkauf abgesetzt.
Das Publikum, so scheint es, will nicht ein Musical sehen, sondern die Minnelli - um jeden Preis. Es bekommt, wofür es bezahlt hat: einen bis zur totalen Erschöpfung singenden und tanzenden Superstar, der während der Show kaum Zeit findet, mal hinter der Bühne am Wasserglas zu nippen oder die Garderobe zu wechseln, der sich im Scheinwerferlicht aus- und anschält und zwölf der 13 Songs ganz allein absolviert.
Liza Minnelli kämpft in THE ACT, laut Vertrag nun 39 Wochen lang, augenscheinlich ums Überleben, und das tut sie grandios. Von Kindheit an hatte sie das im Schaugeschäft übermächtige Image ihrer Mutter Judy Garland zu überwinden versucht und es in Spitzenleistungen wie CABARET sowie mancher Musik-Show durchaus geschafft.
Im Filmgeschäft freilich läuft neuerdings ein Showdown für die selbstbewußte "Liza with a Z". Daß sie in einer Leinwand-Klamotte wie ABENTEUER AUF DER LUCKY LADY (1975) mitwirkte, hatte kaum einer ihrer Fans überhaupt bemerkt. Daß Martin Scorseses NEW YORK, NEW YORK ("Spiegel" 37/1977) an der Kinokasse versagte, lasteten Kritiker überwiegend Liza Minnellis schwacher Darbietung an. Da ist es nur folgerichtig, wenn sie derzeit im Theater alle Reserven mobilisiert.
Wohl nicht zufällig wird in THE ACT vom Buchautor George Furth, die Story einer an Kassenmagnetismus geminderten Filmschauspielerin erzählt, die mittels einer Show in Las Vegas ein Comeback erreichen will. Auf viele bekannte Entertainer-Karrieren, die von Mutter Garland eingeschlossen, mag dieses Klischee passen - für Liza Minnelli drängt sich der Vergleich geradezu auf. Ohne sie würde das Stück wie ein angestochener Luftballon zusammenfallen; sie ist THE ACT.
Die Song-Autoren John Kander und Fred Ebb, die ihr in einem Dutzend Jahren das Material für 17 Shows, darunter CABARET, zubereitet hatten, paßten ihr die musikalischen Kostüme hautnah auf den Leib. Sie kennen ihre Interpretationsfähigkeiten und ihr Stimmvolumen, wissen, wo in der Melodie sie die Spannung steigert - da konnte nichts schiefgehen.
Doch THE ACT ist keine Nummern-Revue, in der sie sich wie auf der Nachtclub-Bühne uneingeschränkt austoben kann. Hier muß sie Dialog sprechen, muß durch Worte Emotionen wecken, und dabei zwingt das karge Libretto sie in ein zu enges Korsett.
Durch Rückblenden während der Vorbereitung ihrer Las-Vegas-Show (mit der etwa die Hälfte des Stückes bestritten wird) memoriert die Heroine Michelle Craig Stationen ihres bisherigen Lebens: die Ehe mit einem ungeliebten und viel zu alten Produzenten, eine Abtreibung, eine Liebesaffäre, an der die Ehe zerbricht, sowie viele berufliche Ups and Downs.
Martin Scorsese, Liza Minnellis Regisseur aus dem Film NEW YORK, NEW YORK und im Theater gänzlich unerfahren, hatte diese Trivialstory zunächst derart dilettantisch in Szene gesetzt, daß Kostüme im Wert von 92 000 und Kulissen für 80 000 Dollar kurzerhand ausrangiert werden mußten. Um die kranke Show dennoch zu retten, ließen die Produzenten Feuer und Martin den Broadway-Routinier Gower Champion (HELLO DOLLY!) daran herumdoktern. Der reduzierte die Dialogszenen, um das Tempo zu steigern, auf ein Minimum.
Dennoch bestand Liza Minnelli eigensinnig auf ihrem Scorsese: "Wenn er die Produktion verläßt, gehe ich auch." Amerikanische Klatschkolumnisten berichten von romantischen Liebesszenen zwischen Scorsese und der Minnelli am Rande der Proben, vom Händchenhalten in verschwiegenen Bars. Scorseses Ehefrau Julia Cameron reichte während der Vorbereitung von THE ACT die Scheidung ein.
Die maßlose Energie, die Liza Minnelli auf der Bühne entfesselt, hat sie offenbar auch im Produktionsbüro zur Durchsetzung ihrer privaten Wünsche eingesetzt. Alles dreht sich um Liza: ein - so Theaterkritiker Howard Kissel - "im höchsten Maße arrogantes Konzept".
Die Minnelli, die sich im Spielfilm POOKIE (1969) immerhin als subtile Charakterdarstellerin bewiesen hatte, muß sich jetzt zwischen Ausdruckskunst und Bühnenklamauk entscheiden. Ihr ACT sei, so urteilte Kissel, schon gar nicht gutes Theater, aber noch nicht einmal die Imitation einer Nachtclub-Darbietung aus Las Vegas, sondern allenfalls "die Imitation der Hollywood-Filmversion eines Las-Vegas-Acts".
Schon auf der 15wöchigen Provinztournee hatte THE ACT, an dem fortwährend noch gearbeitet wurde, gut die Hälfte der einen Million Dollar Produktionskosten wieder eingespielt. Beim Start in New York waren, trotz des Rekord-Eintrittspreises von 25 Dollar, bereits für zwei Millionen Dollar Tickets im Vorverkauf abgesetzt.
Das Publikum, so scheint es, will nicht ein Musical sehen, sondern die Minnelli - um jeden Preis. Es bekommt, wofür es bezahlt hat: einen bis zur totalen Erschöpfung singenden und tanzenden Superstar, der während der Show kaum Zeit findet, mal hinter der Bühne am Wasserglas zu nippen oder die Garderobe zu wechseln, der sich im Scheinwerferlicht aus- und anschält und zwölf der 13 Songs ganz allein absolviert.
Liza Minnelli kämpft in THE ACT, laut Vertrag nun 39 Wochen lang, augenscheinlich ums Überleben, und das tut sie grandios. Von Kindheit an hatte sie das im Schaugeschäft übermächtige Image ihrer Mutter Judy Garland zu überwinden versucht und es in Spitzenleistungen wie CABARET sowie mancher Musik-Show durchaus geschafft.
Im Filmgeschäft freilich läuft neuerdings ein Showdown für die selbstbewußte "Liza with a Z". Daß sie in einer Leinwand-Klamotte wie ABENTEUER AUF DER LUCKY LADY (1975) mitwirkte, hatte kaum einer ihrer Fans überhaupt bemerkt. Daß Martin Scorseses NEW YORK, NEW YORK ("Spiegel" 37/1977) an der Kinokasse versagte, lasteten Kritiker überwiegend Liza Minnellis schwacher Darbietung an. Da ist es nur folgerichtig, wenn sie derzeit im Theater alle Reserven mobilisiert.
Wohl nicht zufällig wird in THE ACT vom Buchautor George Furth, die Story einer an Kassenmagnetismus geminderten Filmschauspielerin erzählt, die mittels einer Show in Las Vegas ein Comeback erreichen will. Auf viele bekannte Entertainer-Karrieren, die von Mutter Garland eingeschlossen, mag dieses Klischee passen - für Liza Minnelli drängt sich der Vergleich geradezu auf. Ohne sie würde das Stück wie ein angestochener Luftballon zusammenfallen; sie ist THE ACT.
Die Song-Autoren John Kander und Fred Ebb, die ihr in einem Dutzend Jahren das Material für 17 Shows, darunter CABARET, zubereitet hatten, paßten ihr die musikalischen Kostüme hautnah auf den Leib. Sie kennen ihre Interpretationsfähigkeiten und ihr Stimmvolumen, wissen, wo in der Melodie sie die Spannung steigert - da konnte nichts schiefgehen.
Doch THE ACT ist keine Nummern-Revue, in der sie sich wie auf der Nachtclub-Bühne uneingeschränkt austoben kann. Hier muß sie Dialog sprechen, muß durch Worte Emotionen wecken, und dabei zwingt das karge Libretto sie in ein zu enges Korsett.
Durch Rückblenden während der Vorbereitung ihrer Las-Vegas-Show (mit der etwa die Hälfte des Stückes bestritten wird) memoriert die Heroine Michelle Craig Stationen ihres bisherigen Lebens: die Ehe mit einem ungeliebten und viel zu alten Produzenten, eine Abtreibung, eine Liebesaffäre, an der die Ehe zerbricht, sowie viele berufliche Ups and Downs.
Martin Scorsese, Liza Minnellis Regisseur aus dem Film NEW YORK, NEW YORK und im Theater gänzlich unerfahren, hatte diese Trivialstory zunächst derart dilettantisch in Szene gesetzt, daß Kostüme im Wert von 92 000 und Kulissen für 80 000 Dollar kurzerhand ausrangiert werden mußten. Um die kranke Show dennoch zu retten, ließen die Produzenten Feuer und Martin den Broadway-Routinier Gower Champion (HELLO DOLLY!) daran herumdoktern. Der reduzierte die Dialogszenen, um das Tempo zu steigern, auf ein Minimum.
Dennoch bestand Liza Minnelli eigensinnig auf ihrem Scorsese: "Wenn er die Produktion verläßt, gehe ich auch." Amerikanische Klatschkolumnisten berichten von romantischen Liebesszenen zwischen Scorsese und der Minnelli am Rande der Proben, vom Händchenhalten in verschwiegenen Bars. Scorseses Ehefrau Julia Cameron reichte während der Vorbereitung von THE ACT die Scheidung ein.
Die maßlose Energie, die Liza Minnelli auf der Bühne entfesselt, hat sie offenbar auch im Produktionsbüro zur Durchsetzung ihrer privaten Wünsche eingesetzt. Alles dreht sich um Liza: ein - so Theaterkritiker Howard Kissel - "im höchsten Maße arrogantes Konzept".
Die Minnelli, die sich im Spielfilm POOKIE (1969) immerhin als subtile Charakterdarstellerin bewiesen hatte, muß sich jetzt zwischen Ausdruckskunst und Bühnenklamauk entscheiden. Ihr ACT sei, so urteilte Kissel, schon gar nicht gutes Theater, aber noch nicht einmal die Imitation einer Nachtclub-Darbietung aus Las Vegas, sondern allenfalls "die Imitation der Hollywood-Filmversion eines Las-Vegas-Acts".
AWARDS & NOMINATIONS
THE ACT was nominated for six Tony® Awards in 1978, including Best Original Score for Kander & Ebb. Liza Minnelli won her third Tony® as Best Actress in a Musical. The complete list of nominations:
1978 Tony® Awards
Best Actress in a Musical
Best Actor in a Musical Best Original Score Best Choreography Best Costume Design (Play or Musical) Best Lighting Design (Play or Musical) |
LIZA MINNELLI (Winner)
BARRY NELSON (Nominee) JOHN KANDER & FRED EBB (Nominee) RON LEWIS (Nominee) ROY HALSTON FROWICK (Nominee) THARON MUSSER (Nominee) |
Liza Minnelli and company performing "City Lights" at the 1978 Tony® Awards
Robert Guillaume introduces Liza Minnelli and Company performing "City Lights" from THE ACT on the 1978 Tony Awards,
then Ed Asner present the Tony for best actress in a musical.
Robert Guillaume introduces Liza Minnelli and Company performing "City Lights" from THE ACT on the 1978 Tony Awards,
then Ed Asner present the Tony for best actress in a musical.
Photos
Liza Minnelli during the 32nd Annual Tony® Awards Supper Ball, June 4th, 1978 at the Waldorf Astoria in New York City
Photos: Ron Galella / Wire Image / LIFE © 1978
Photos: Ron Galella / Wire Image / LIFE © 1978
VideoS
Liza Minnelli performing "Arthur In The Afternoon" in concert with original Arthur Roger Minami
Live at the New Orleans Theater of the Performing Arts, November 24th, 1979
Live at the New Orleans Theater of the Performing Arts, November 24th, 1979