A Myspace survey on musicals.

I thought I might as well repost this, as it does a great deal of good explaining who I am.

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Name 10 of your favorite Broadway shows

1. Sunset Boulevard
2. Rent
3. Urinetown
4. West Side Story
5. Guys and Dolls
6. A Chorus Line
7. Gypsy
8. Sweet Charity
9. Avenue Q
10. The Last Five Years (technically off-broadway, but shut up)

Have you ever seen these shows live?
On Broadway: 1, 2, 3, 9. In San Francisco: 1, 2, 3, 4. In L.A.: 1, 2, 3. Community theatre in Bay Area: 5, 6, 7. Performed in high school or community theatre: 4, 8. Never seen: 10 (which will change this upcoming fall at USC courtesy of my sister).

What's your favorite song from show 2?
"Take Me or Leave Me"

Who's your favorite character from show 4?
Action gets all the best lines, but I am partial to the Jet known as Diesel, as I played him. Motherfucker starts the rumble, boyee.

What's your favorite scene from show 5?
A tie between "If I Were a Bell" and "Luck Be a Lady" with its preceding dance sequence in the sewers. These were also the most fun to follow as a spotlight operator at Contra Costa Civic Theatre.

What's your favorite lyric from show 8?
"Daddy started out in San Francisco,
Tootin' on his trumpet loud and mean,
Suddenly a voice said, 'Go forth Daddy,
Spread the picture on a wider screen.'
And the voice said, 'Daddy, there's a million pigeons
Waiting to be hooked on new religions.
Hit the road, Daddy, leave your common-law wife.
Spread the religion of The Rhythm Of Life.'"

From show 10, which character are you most like?
There are only two characters in the entire show so it's obvious that I'm Jamie, but "The Last Five Years" holds a special relevance to my fiancee and me. It got us through many a tough time as we shared many qualities with the two characters and knew how we could get out of the predicaments Jamie and Kathy find themselves in. Plus, I am still reaping the rewards of telling Stevi, "You, you are the story I should write."

Can you quote every line from show 1?
Oh, I get a little confused during the second act keeping track of all the characters in "By This Time Next Year." I don't have a grip on this show like I (and many others) have on "Rent," which I once sang the entire first act to myself without accompaniment driving down from SF to LA.

How many times have you seen show 3?
Five times: once in New York, twice at A.C.T. in SF, once in L.A. and once at USC.

If you could be anyone from show 6, who would it be? Why?
Ouch, it's hard to pick a character from "A Chorus Line," as the best male character, Paul, has a monologue about how his homosexuality destroyed his relationship with his father, and then goes on to break his ankle. I have always wanted to play Zach, but that's more because the dancing in the show would demolish my body, and Zach is the director who save for two scenes sits out in the audience with a microphone.

What's your favorite song from show 7?
Without question, "All I Need is the Girl." It is one of the greatest songs from any musical, bar none, and it packs an emotional whallop both during the spectacular sequence as well as when we find out who Tulsa was REALLY singing about. Just watch Natalie Wood in both scenes. Heartbreaking.

What's your favorite quote from show 9?
"I know, put my earmuffs on the cookie...who painted the cat purple?"

Out of all these shows, which one is your absolute favorite?
I technically have a four-way tie between "Sunset Boulevard," "Rent," "Urinetown" and "The Last Five Years." "Sunset Blvd." is the gloriously extravagant pop musical where everything works, "Urinetown" is the funniest musical of all time (a musical comedy where the actual music is incredible; whodathunk?), "Rent" is the show that changed the world and "TLFY" is the unique experiment that ends up being a part of your very soul.

Who's the best Broadway actor?
Alan Cumming, Nathan Lane, Hunter Foster, Jonathan Pryce, Anthony Rapp, Norbert Leo Butz.

Who's the best Broadway actress?
Gotta go with the Bern. Idina Menzel is a true talent, though.

What's the best musical they turned into a movie?
Absolute perfection: "Little Shop of Horrors." Most improved: "Chicago." Most underrated: "Gypsy." Most in the spirit: "On the Town" and "Hedwig and the Angry Inch." Didn't change a thing and yet it still worked: "Jesus Christ Superstar." Best classic: "West Side Story." Conversely, the best improvements as movie-to-musical: "Sunset Boulevard" and "The Producers."

Is there a musical you DON'T like?
Yes, there are many bad musicals in this world.

If so, which one? Why?
I have gone on record with my hatred for that atrocity that everyone seems to adore: "Les Miserables." What a sorry excuse for an event musical: the story doesn't really kick in until near the end of the first act, the main character is a cipher, there's only two great songs and they both belong to Epanine, the patriotism is dopey and the staging is confusing and lousy. And hey, I gave it a goddamn open-minded second chance, so don't start.

Do you think the movie versions are better, or the original Broadway shows?
As I've stated above, it's really particular to the project at hand. For the most part, though, sloppy film adaptations are what killed the musical in the first place, and after the successes of "Moulin Rouge" and "Chicago," the studios are unfortunately back to the same mistakes. "Chicago" made over $100 million and won Best Picture because it WASN'T the show. The same can't be said for "The Producers," "Phantom of the Opera" and "Rent"--which are fine movies--but they failed to make the transition new, pleasant and interesting.


This or That:

The Producers or RENT - While I am partial to "The Producers" as I was present during the final preview night back in 2001 with Nathan Lane and Matthew Broderick, "Rent" is a large part of my life: I have seen it 12 times and will make it to #13 on August 2nd. "The Producers" doesn't have the best music, but "Rent" is something to behold, even if the message fails to engage some viewers. There is no match for "Take Me or Leave Me" or "I'll Cover You Reprise" in the former.

Wicked or Chicago: I am not a fan of either show. Granted, I haven't given "Wicked" a fair shot, but I think Stephen Schwartz doesn't know how to write for women for shit, and it's aimed too squarely at teenage girls. "Chicago," on the other hand, had a messy revival that drained all the energy and emotion out of the proceedings. That's why I call the movie "most improved," as it is quite a different piece of art than the show. For sheer knowledge of its originality back in the Fosse-fied 1970s, "Chicago" wins this one.

Fiddler on the Roof or Oklahoma: I have written in newspapers that, in regards to Rodgers and Hammerstein, "I can make better melodies with my rear end," and while "Fiddler" is too long for its own good, I gotta give it up for the fellow Jews. Also, whenever I hear the word "tradition," I raise both my arms.

Thoroughly Modern Millie or 42nd Street: "Millie" is a piece of colorful and racist drivel, despite the fact that I admire the Julie Andrews movie. I believe it was a New York Times critic who likened the show to "being stampeded on by circus ponies." I've never seen the stage version of "42nd Street," but I love the original movie, and the song selections from all the Busby Berkeley musicals they put into the show are brilliant. I love a good "understudy-makes-good" story, as opposed to "20s flapper-makes-whore."

Hairspray or Grease: "Hairspray." I objected somewhat to the first time I saw it--with the original cast in NY--because they were not giving it their all, despite the fact that I loved the soundtrack. The SF production was better. I've been in "Grease," and it's kind of a screwed up musical that teaches all women that to get a dumb jock to love you, become a tramp and all will be well. The movie is good to watch every now and again, though, especially since it bears very little resemblance to the show.