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The High Note

The High Note

New movie releases have been pretty slim pickings lately—and are likely to be that way for the foreseeable future—so when a new film from a major studio (NBCUniversal, in this case) becomes available, it’s worth giving it a watch to see if we can recommend it.

 

The High Note was scheduled for a wide theatrical release on May 8, and actually did have a limited run in about 60 select theaters and drive-ins across the country while simultaneously being released as a premium video-on-demand (PVOD) title. 

It is now available for purchase from Kaleidescape at the very reasonable price of $19.99.

 

The film is directed by Nisha Gantra, who specializes in directing episodes of comedic TV series such as The Last Man on Earth, Brooklyn Nine-Nine, and Fresh Off the Boat, and is the first writing credit for Flora Greeson. The film’s big draw is its cast, with Dakota Johnson in the starring role as worked-to-death personal assistant Maggie Sherwoode and Tracee Ellis Ross—daughter of iconic singer Diana Ross and best known for her role as Rainbow Johnson on Black-ish—as R&B singing legend Grace Davis. Ice Cube plays Grace’s manager, Jack, with Bill Pullman in little more than a cameo as Maggie’s father, Max. There’s also another
brief cameo by the musician Diplo in his big-screen debut as producer Richie Williams.

 

After years of doing all of Grace’s grunt work, music-loving Maggie is looking for more, and wants to break into the 

HIGH NOTE AT A GLANCE

This teen-targeted tale of an aging R&B diva’s ambitious assistant might not move the rom-com needle forward, but it does feature some spectacular-sounding musical performances. 

 

PICTURE     

The 4K HDR transfer has natural-looking, lifelike images but often appears soft, perhaps to benefit the film’s aging stars. 

 

SOUND     

The Dolby Atmos soundtrack takes full advantage of the music-driven scenes, kicking up the SPLs and waking up your subwoofers.

music industry by producing Grace’s next record, a live greatest-hits album. Of course, she doesn’t tell Grace this, instead spending her free time in the studio working on putting a new spin on Grace’s classics. Jack thinks Grace’s career is winding down, and—along with the record label—is pushing her to take a residency in Las Vegas where they can capitalize on her history of 11 Grammy wins to cater to a large fan base, stop touring, and enjoy an easy life with guaranteed easy money rolling in.

 

Along the way, Grace has a classic meet-cute with David Cliff (Kevin Harrison Jr.) at a grocery store where they discuss music while shopping, and she walks outside to discover Cliff is an aspiring musician who has tons of talent, but needs a producer to get him to the next level. Maggie convinces him that she is a professional producer and offers to work with him to make an album, and they happen to fall in love along the way.

 

The movie spends much of its time with the “drama” of Maggie trying to serve two masters—being available for Grace’s every whim at all hours of the day while also making time to work with David in and out of the studio. Ultimately, things come to a head, with Maggie’s world falling apart in a single evening where she loses both her job with Grace and her relationship with David, and then runs home to her DJ dad. Everything then suddenly comes back together in classic Hollywood fashion for a nice happy ending.

 

Shot in ArriRaw at 6.5 K resolution, The High Note transfer is taken from a true 4K digital intermediate, but I never felt it was giving me that ultra-level of detail of many modern 4K transfers. In fact, many shots had a soft, film-like quality as if the

camera was slightly defocused to be a bit kinder to the older actors. There are some moments of sharp detail like the seat stitching in Grace’s McLaren or the texture and weave in clothing, but up until I read the technical specs I was convinced this had been sourced from a 2K DI.

 

Of course, high dynamic range often plays a bigger part in picture quality than resolution, and images here have a really natural, lifelike quality. Many interior shots are lit by rich, warm lighting that reminded me of the glow of analog tube amplifiers or natural, Southern California sunlight. Nighttime scenes are nice and dark, punctuated by bright highlights from car headlights, billboards, and glowing neon signs. The pre-sunset skies in Hollywood are also filled with color and detail with no banding or noise.

 

This movie is about the music industry, and the Dolby Atmos TrueHD soundtrack is really where it shines. Every time music kicks in, it does so with a lot of volume and impact, letting you really appreciate the energy of the live performance. From the opening moments when Maggie is in the studio working on Grace’s album, you get a huge soundstage that fills the room, with hard-hitting kick drums and a bass line you feel in your chest, with cheering crowd noise all around you. There are several scenes of live music, and they all sound great, kicking up the SPLs   

The High Note

and waking up your subwoofers, with the actors turning in believable performances. There is one nice audio moment where David is listening on a pair of headphones to a mix Maggie did of one his songs. You still get a full soundstage here but with a much different mix, letting you experience what the character is hearing. Dialogue was also clear and intelligible throughout.

 

While The High Note doesn’t tread any new rom-com ground or challenge you in any way, and you’ll likely see its “big” plot twist coming from miles away, it is an easy, entertaining film featuring solid performances and singing that is the cinematic equivalent of comfort food, with a Rotten Tomatoes score of 69 and Audience Score of 75. In a time when the news is filled with enough negative information, a nice, easy, upbeat film can be just the night at home you’re looking for.

John Sciacca

Probably the most experienced writer on custom installation in the industry, John Sciacca is
co-owner of Custom Theater & Audio in Murrells Inlet, South Carolina, & is known for his writing
for such publications as
 Residential Systems and Sound & Vision. Follow him on Twitter at

@SciaccaTweets and at johnsciacca.com.

Another Giant Step Toward Day & Date

Another Giant Step Toward Day & Date

In perhaps one of the biggest moves in home entertainment history since Hollywood started releasing movies on VHS, Universal and the AMC theater chain came to an unprecedented agreement yesterday that will drastically shorten the time it takes movies to make it from the theater to your home. Where the traditional theatrical-to-home release window has been 72 to 90 days, this new agreement slashes the time to just 17 days. One proviso is that the film must play theatrically over three weekends, meaning that if a movie is released on Saturday the 1st, it could be available for home viewing on the 17th, but 

if it’s released on Monday the 1st, it can’t go into homes until the 22nd.

 

Also, the agreement makes these films available for early premium-video-on-demand (PVOD) rental viewing, not for purchase or for release to streaming services like Netflix. Previous Universal PVOD titles released during the pandemic, such as The Invisible Man, Emma, and The Hunt, carried a rental price of $19.99 for a 48-hour viewing window. (Information on when titles would be available for sale was unavailable.)

 

Since the vast majority of theatrical box-office receipts are typically brought in within the first few weeks of a film’s release, in theory this new arrangement shouldn’t have too much impact on the box office takeIn reality, however, it seems highly likely that many families and luxury home theater owners will opt to wait just a few extra days to enjoy the movie in the comfort of their own homes on their own schedule.

 

While this current agreement is just between Universal and AMC, it will be interesting to see how other theatrical 

chains such as Cinemark and Regal react, or how quickly other studios head to the bargaining table looking for similar terms. Of course, the other studios might wait to see how Universal does with this gamble before deciding to jump in, but now that the early-release genie is out of the bottle, it will likely be difficult to stuff him back in.

 

It’s also interesting that this deal comes between Universal and AMC, a duo that had a very public spat just three months ago over the early PVOD release of Trolls: World Tour. After NBCUniversal chief executive officer Jeff Shell announced he expected to release movies simultaneously in theaters and in direct-to-home formats, AMC chair/CEO Adam Aron responded quite publicly by declaring that they would no longer show any NBCU titles in any of their cinemas in the US, Europe, or the Middle East.

 

It’s certainly not news that cinema chains and studios alike are suffering financially in these unprecedented times and will likely continue to do so until a vaccine has become widely available, and this agreement offers some clear advantages to both sides. With their symbiotic relationship, theaters can’t exist without content to show, and studios need the revenue of massive blockbusters to fund other projects.

 

With a shortened release window as an option, studios might be more inclined to release films domestically on a smaller scale—perhaps in cities where the virus has been more contained or in drive-ins, which have been seeing a bit of a resurgence—unlike the international release strategy Warner is adopting for Tenet. It also might open the way for smaller-budget films to find a theatrical release instead of going straight to video or streaming. Being able to bring the film to PVOD after a shorter time could allow for a bump at the box office, while having a wider PVOD release follow shortly after that can benefit from the advertising and buzz generated from the commercial release.

 

But this is certainly a bigger gamble for the cinema chains than it is for the studios. That lengthy window was one of the biggest hooks theaters had to get people to come to the movies, with most people opting not to wait three months to see a buzzworthy flick. Having the theaters agree to such an early release window feels a bit like another nail being driven home.

 

Once a new consumer habit has been formed, it’s difficult to get people to change, and after being home for months and getting into the habit of watching movies there, the allure of waiting just a couple of weekends to enjoy something in the comfort—and safety—of your home might be too tempting for many to pass up.

John Sciacca

Probably the most experienced writer on custom installation in the industry, John Sciacca is
co-owner of Custom Theater & Audio in Murrells Inlet, South Carolina, & is known for his writing
for such publications as
 Residential Systems and Sound & Vision. Follow him on Twitter at

@SciaccaTweets and at johnsciacca.com.

Easy Rider

Easy Rider (1969)

The last time I sat down to watch Easy Rider was sometime in 1990. Sixties nostalgia was in full swing, since grunge hadn’t really exploded and given the burgeoning decade something resembling its own identity. I was in my late teens, and the film was barely in its twenties. And yet, it felt archaic to me. A time capsule, if you will. Which isn’t to say that it wasn’t compelling. But I think I mostly saw Easy Rider as something akin to a 95-minute music video for some of the best tunes dominating 

classic rock radio at the time. And sure, I understood its lasting influence on American New Wave cinema. But it still struck me as little more than a nostalgia trip, and a disjointed one at that.

 

Fast-forward 30 more years, and Easy Rider feels relevant to me in ways I couldn’t have imagined before digging into Kaleidescape’s recent 4K HDR release. For me, Easy Rider isn’t just a hop into the Wayback Machine anymore. It’s a relatable portrait of a turbulent and divided America. Of senseless violence and othering. Of rage and misplaced resentment boiling over into identity politics and spilling out into interpersonal strife. Of the end of an era.

 

And sure, it’s not quite like looking out the window. The clothing looks more like costumes. Some of the characters feel more like caricatures. But, despite all of that, Easy Rider still feels like it has something to say about our present moment in history, for perhaps the first time since its release in 1969. (I’m reminded of a popular adage in geek 

EASY RIDER AT A GLANCE

Treated for years as a quaint cultural artifact, this iconic big-studio “indie” film takes on a new significance when viewed in the light of current events. 

 

PICTURE     

The 4K HDR transfer stays true to the look of the movie’s film stock, faithfully presenting its often drab but sometimes vibrant color palette.

 

SOUND     

The legendary music soundtrack sounds amazing in both stereo and surround, but the dialogue remains tinny and flat, thanks to the original on-set audio recordings.

culture: “All of this has happened before, and it will all happen again.” I’m also reminded of the oft-quoted observation by Marx: “All great world-historic facts and personages appear, so to speak, twice . . . the first time as tragedy, the second time as farce.”)

 

Part of the film’s reinvigorated applicability may have something to do with its structure—a series of loosely connected vignettes that barely add up to a plot. According to legend, most of what was left on the cutting-room floor when the film was whittled down from 220 to 95 minutes could be considered story. And what we’re left with is more of a moment-to-moment experience than anything else. And I think—again, just speaking for myself—this forces a bit of reflection on what the film leaves unsaid: The racial tensions of the era, the conflict in Vietnam, the political infighting. Despite the fact that the film doesn’t mention any of the above, all of it looms large over Easy Rider. And since they’re not explicit here, it’s easy to impose some of our own sociopolitical strife in their place.

 

I think the new 4K HDR transfer also helps immensely, at least when it comes to getting immersed in the weirdness of Easy Rider. If you know the film well, you may be wondering what the enhanced resolution does for the imagery. The short answer is: Not much. In large part, really nothing. But the expanded dynamic range and enhanced color gamut bring the cinematography to life in ways that home video simply hasn’t been capable of doing until recently.

 

I’m reminded of my observations about the new 4K HDR release of The Wizard of Oz. In similar respects, Easy Rider benefits not only from more vibrancy and purity of colors, but also from the selective intensity of primary hues. In past transfers, the 

entire palette had to be boosted or muted, brightened or darkened universally. With HDR, dazzling Crayola-colored reds and blues comfortably share the screen with more subdued pastels and weather-worn pigmentations, and intense flashes of light comfortably share the frame with deep shadows that nonetheless contain nuance. Peter Fonda’s flag-adorned chopper practically glows against a backdrop that’s more often than not dull and dingy.

 

To put it simply, for the first time, the home video presentation of Easy Rider actually looks and feels like film, and thankfully the restoration efforts—while cleaning up dirt and scratches and other ravages of time—have done nothing to rob the footage of its wonderfully organic and grainy photochemical chaos.

 

Of course, the film’s sound mix is what it is. The iconic music tracks sound amazing, in both the DTS-HD Master Audio 5.1 and stereo mixes. The dialogue and other on-set audio still sound as if they were recorded with a couple of tin cans and some string, though, and there’s just not much to be done about that, short of egregious meddling.

 

The Kaleidescape download also comes with a couple of bonus goodies: An audio commentary with Dennis Hopper and an hour-long documentary from 1999 

Easy Rider (1969)

called Shaking the Cage. I would recommend skipping the former, since it provides a rather unbalanced perspective on the making of the film. Perhaps if Sony Pictures owned the second commentary track included with the Criterion Blu-ray release—featuring Hopper, Peter Fonda, and production manager Paul Lewis—it would be worth a listen.

 

Truth be told, you get everything you could want from a commentary and more from Shaking the Cage, which should be viewed as an essential companion piece—almost more like annotations for Easy Rider than a traditional making-of retrospective. It’s true, you don’t get much in the way of insight into the themes and mysteries of the film, but rarely have I seen a more unbridled examination of the personality conflicts, fights, compromises, and sheer pandemonium behind the making of any film. In some ways, it’s almost more entertaining than Easy Rider itself.

Dennis Burger

Dennis Burger is an avid Star Wars scholar, Tolkien fanatic, and Corvette enthusiast
who somehow also manages to find time for technological passions including high-
end audio, home automation, and video gaming. He lives in the armpit of 
Alabama with
his wife Bethany and their four-legged child Bruno, a 75-pound 
American Staffordshire
Terrier who thinks he’s a Pomeranian.

Let Them Watch Bootlegs

Let Them Watch Bootlegs

So, Christopher Nolan—which also means Warner Bros., which also means IMAX (but I’ll get to all that in a second)—has decided to release Tenet overseas next month and then in the U.S. (at least theoretically—but I’ll get to that in a second) in September.

 

By writing about this two posts in a row, it’s going to sound like I’ve got it in for Nolan. Not really, but it wasn’t my decision to make this year’s entire film market—and potentially the fate of the entire current approach to film production and distribution—

hinge on the release of his film. That seems like a situation it might be kind of important to understand.

 

Now, I don’t claim to be an expert on film distribution, and I’m assuming that all involved thought this decision through the best they could. What I do know is that we’re currently living in a world where all bets are off and where traditional expertise in any area can buy you a cup of coffee and not much else.

 

Because figuring out how to parcel out films to the masses really isn’t my métier, what follows doesn’t qualify as much more than a thought experiment. But that doesn’t mean there’s not a little bit of meat on its bones.

 

In “Is Christopher Nolan Too Much of a Purist for His (& Our Own) Good?” I tried to think through the implications of launching Tenet into foreign markets before the film makes it, one way or another, to American shores. At the time I wrote that piece, the “overseas first” idea was mainly just being floated as a “what if?” but it had a feeling of inevitability to it. The common response I heard was, “No 

way Tenet doesn’t get shown both here and there at the same time,” but Warner and IMAX had to have looked at the current state of the pandemic, considered the contractual obligations that said the film had to be released in theaters first, and decided to try to grab the 50% or more of the projected total gross they could reap in foreign lands.

 

There are many, many implications to all this, but there are two I want to highlight here: As I pointed out one post ago, this makes it not all but inevitable but inevitable that the U.S. will be awash in a tsunami of Tenet bootlegs the second the very first theatrical screening of the film ends. To repeat myself, this means that, with the nation savoring his opus at 360p from a proper-aspect-ratio-be-damned file surreptitiously captured off some movie screen in parts unknown, Nolan will have completely undermined his conviction that people first had to see his film in a movie theater or not at all. (Actually, they will be experiencing it in a theater first, but virtually and in the worst possible way.)

 

And—as if there wasn’t already more than enough irony here to go around—by bestowing his masterwork upon foreign theaters first, he could be primarily responsible for generating the greatest boon the piracy market has ever seen.

 

Here’s Point No. 2: I could be utterly wrong about this, but the whole “We’re going to release Tenet in the U.S. in September” part of the announcement smells like a massive exercise in butt covering. Unless the Tenet forces have access to scientific data the rest of us aren’t privy to, there is no way the virus is going to be sufficiently under control a month from now to justify opening movie theaters on any meaningful scale. Even the New York metro area, which pretty much has the situation under control and would be responsible for a large chunk of Tenet’s U.S. take, isn’t in a big hurry to reopen its theaters out of concerns they could help spawn a second wave.

 

So my potentially meaningless reading of the announcement is that they’re dead serious about releasing Tenet overseas but are being something less than truthful (now there’s a euphemism we should all learn to hate) about the prospect of the film being shown here anytime soon.

 

At the time of writing, Nolan/Warner/IMAX had, once again, decided to release Tenet to theaters. What I don’t think any living soul honestly knows for sure is when, or if, American theaters will ultimately end up being part of that equation.

Michael Gaughn

Michael Gaughn—The Absolute Sound, The Perfect Vision, Wideband, Stereo Review,
Sound & Vision, The Rayva Roundtablemarketing, product design, some theater designs,
couple TV shows, some commercials, and now this.

Olivia de Havilland–The Golden Era’s Last Star

Olivia de Havilland--The Golden Era's Last Star

It’s very sad to say goodbye to Olivia de Havilland, who passed away yesterday at the age of 104. It’s a melancholy goodbye not only because she was a great lady of talent and grace, but because she was the last remaining star of Hollywood’s Golden Age. By that, I mean the era before World War II. It’s subjective, of course, if you choose this as the greatest era of filmdom, but the term is generally accepted to mean the years when seven major film studios produced hundreds of movies every year for a ravenous, loving film public that devoured all sorts of genres. The output was unsurpassed, and production values often outlandish.

 

At the center of this unabashed era of entertainment were several top actresses, which included Olivia de Havilland. She possessed a superb speaking voice and a lovely face that exuded warmth, deep concern, and romantic depth—in short, all 

the qualities perfect for leading ingénues of the 1930s. Her coloring also had a beautiful “blush” that was perfect for Technicolor. Indeed, she was the leading lady for several early Technicolor spectacles for Warner Bros.: The Adventures of Robin Hood (1938), Gold Is Where You Find It (1938), Dodge City (1939), and The Private Lives of Elizabeth and Essex (1939).

 

In 1939, she connived and convinced Jack Warner to loan her to the independent film company of Selznick International Pictures to play the part of Melanie Wilkes in the biggest film production of the year, Gone with the Wind. However, it must be remembered, Dame de Havilland had 

a very formidable film career beyond her lovely performance as Melanie. In fact, her best performances are in The Snake Pit (1948) and The Heiress (1949). By 1950, she had won two Academy Awards (for The Heiress and To Each His Own) and was the reigning queen of the dramatic cinema.

 

Her road from sweet ingénue to fine dramatic actress was long, frustrating, and professionally dangerous. And the reason for her respect from her peers in the Hollywood community includes three great achievements that had nothing to do with her film

performances.

 

The first and most famous was her courageous stand against Jack Warner and the studio contract system. In the ‘20s, ’30s, and ’40s, it was common practice for studios to sign stars to a seven-year contract. The studios would then assign roles to the actors. Supposedly actors had some choice of roles but in truth, very little. This worked very well for the stars for whom the Havilland be bound to his studio. Warner underestimated de Havilland’s determination to advance her art with better roles of more depth. She sued Warner Bros.—an action that made all other stars in Hollywood tremble in fear. The case dragged on for a year and a half but she finally 

Olivia de Havilland--The Golden Era's Last Star

This was Olivia de Havilland’s favorite dress from Gone with
the Wind—
but you never get a good look at it in the film

won out over Jack Warner when the California Supreme Court upheld a lower-court ruling in her favor in 1945. What became known as The De Havilland Law established that a studio could not arbitrarily extend an actor’s contract.

 

It was a courageous move that made life easier for other stars as well, but in doing so she put her own career on hold for a good amount of time—a time when she would otherwise have been at her peak artistically.

 

But after she won the case, her career did resume and she did her most outstanding work in Hollywood. She appeared in several excellent films in rapid succession, all released in 1946. In The Dark Mirror, she played twins, one good and one evil. In Devotion, she played Charlotte Bronte, and in her first Oscar-winning performance in To Each His Own, she was an unwed 

Olivia de Havilland--The Golden Era's Last Star

De Havilland in The Snake Pit

mother who gave up her infant son. Not only was her career back on the rise, but she had garnered the respect and gratitude of the entire film industry.

 

As her brilliant career continued, she did two other history-changing things. In 1951, because she had recently won her two Academy Awards, Warner Bros. offered her the type of role she had only several years before fought so hard for. She was to play Blanche DuBois in the film version of A Streetcar Named Desire. After a read-through of the screenplay with the original Broadway cast (Brando included) and for the original director 

Elia Kazan, she turned to Kazan and reportedly said, “I can do this part and I can do it very well, but I’ll never be able to do it as well as Vivien. I saw her do this role on stage in London. You should call her right now and asked her to do this film.” Vivien Leigh did star in the movie of A Streetcar Named Desire and not only won her second Oscar but became as indelibly associated with Blanche DuBois as she had been with Scarlett O’Hara.

 

By doing this, Olivia de Havilland demonstrated one of the greatest things an actor can be—sure of what they can and can not do, but also able to put their own ego aside so that true art can be created.

 

The third wonderful thing Olivia de Havilland achieved involves another great actress: Grace Kelly. By 1955, Olivia was out of the Hollywood rat race and only occasionally making pictures while she lived full-time in Paris.

When Grace Kelly was taking a European tour, she stopped by to give her regards to Olivia. (Their film careers must have given them a lot in common.) Grace mentioned to Olivia that she was having a lot of trouble meeting Eligible Bachelors in Hollywood—someone she could marry and raise a family with. Olivia suggested that she and Grace take a little trip down to Monaco where she knew someone Grace might like to meet. Of course, the man was Prince Rainier, who Grace married, raised a family with, and stayed with for the rest of her life. So, it appears Miss de Havilland was as supreme a matchmaker as she was an actress, legal eagle, and casting director.

 

But when thinking of her achievements, we must not forget her vast and varied film career. Some of her other great performances that I personally love include The Strawberry Blonde (1941), In This Our Life (1942), My Cousin Rachel 

Olivia de Havilland--The Golden Era's Last Star

Grace Kelly and Olivia de Havilland

(1952), The Proud Rebel (1958), The Light in the Piazza (1962), and last but definitely not least, all the epic romantic films she made with Errol Flynn, including Captain Blood (1935), Santa Fe Trail (1940), and the magnificent The Adventures of Robin Hood.

Gerard Alessandrini

Gerard Alessandrini is a Tony Award-winning writer/director of musicals, best known for the long-
running musical satire Forbidden Broadway and the Hamilton spoof Spamilton, both of which
have been performed in theaters around the world. He has been the lyricist (and sometimes
composer) for over a dozen musicals, including Madame X, The Nutcracker & I, Scaramouche,
and the Paul Mazursky musical of Moon Over Parador, and has won numerous accolades,
including two Lucille Lortel awards and seven Drama Desk awards. His voice can be heard in
Disney’s Aladdin (1992) and Pocahontas. He’s also written special-material songs for many
stars, including Angela Lansbury, Carol Burnett, Bob Hope, and Barbra Streisand.

My Favorite Video Game Has Become My Wife’s Must-See TV

My Favorite Video Game Has Become My Wife's Must-See TV

I’m starting to feel like I’ll never finish playing The Last of Us, Part II. And it’s all my wife’s fault.

 

Mind you, this isn’t your stereotypical story about a man’s nerdy hobby and his other half’s nagging insistence that he put down the controller and help out around the house. We are not that kind of couple. No, the problem is that my wife has become as obsessed as I am with the game’s gripping story and incredible visuals, and since she has no desire to play it 

herself (“too many buttons”), she won’t let me play unless she’s around to watch.

 

It’s funny, all this fuss, especially given that I had no intention of playing The Last of Us, Part II to begin with. The original game, released in 2013 at the end of the PlayStation 3’s life cycle, was one of the most compelling single-player video games ever created. It was a simple tale, a sort of post-pandemic, American-horror-story riff on Kazuo Koike’s Lone Wolf and Cub, released years before The Mandalorian would bring that classic Shogun epic swinging back into the pop culture consciousness. At the risk of sounding hyperbolic, the original The Last of Us was such a perfectly told tale that creating a followup seemed as sacrilegious to me as making a sequel to Citizen Kane.

 

But I got The Last of Us, Part II for Father’s Day and figured “What the hell?” Even if it lived up to all my fears, it couldn’t spoil my appreciation for the original. It turns out, though—despite what you may have heard from the nerd-rage circles of the internet, where legitimate creative expression is met with ire and only repetitive and pre-chewed fan service is allowed—The Last of Us, Part II is not only a brilliant 

sequel, it may well be the single most compelling and challenging work of art released this year in any medium.

 

And that’s the problem. My wife occasionally watched me play the first Last of Us, and she had a pretty good handle on the story despite experiencing it only in snippets. But she can’t take her eyes off of The Last of Us, Part II, and now my play time 

is dictated by her viewing schedule.

 

That’s why I’m only 35 hours or so into the story, a month after the game’s release. From what I’ve seen so far, though, this new game is a revenge tale that’s ultimately about the futility of revenge—reminiscent of the very best samurai flicks. It’s a necessarily violent (at times) narrative about the personal cost of violence. It’s a non-linear storytelling experience that not only forces you to see, but also to experience—to feel—the conflicting emotions and 

motivations of the various major players—each the antagonist of the other. It is, in a sense, a narrative extrapolation of the famous MLK quote: “The reason I can’t follow the old eye-for-an-eye philosophy is that it ends up leaving everybody blind.” What’s more, it proves that in such a contest, no one agrees who took the first eye.

 

Add to that some of the most impressive HDR visuals you’ve ever seen on any screen and a dynamic surround sound mix so convincing that it has at times made us think there was a real storm brewing in the distance outside, and it’s understandable that my wife treats The Last of Us, Part II more like a movie or TV show than a vicarious gaming experience. (Indeed, she 

almost seems to forget that there’s an interactive element at all, except during those times when I need to use the PS4 controller to strum a guitar in the occasional musical mini-game interlude.)

 

The point of all this is not that you should play The Last of Us Part II if you’re not a gamer. The point is, if you have a gamer in your household and you’ve relegated them to the basement or bedroom, invite them into the home theater or media room. Let them play on the best AV system in the 

house. That’s the environment for which today’s cinematic single-player games are designed.

 

Let’s face it: some of us are already starting to get a little starved for new content to watch, and that problem is only going to get worse as more film releases are delayed or taken off the release schedule altogether. With a new generation of video-game consoles slated for release this Christmas, though—and with any number of new story-driven games waiting in the wings—you may just find that your spouse’s or kid’s next favorite game may become your new favorite home cinema viewing experience.

—Dennis Burger

Dennis Burger is an avid Star Wars scholar, Tolkien fanatic, and Corvette enthusiast
who somehow also manages to find time for technological passions including high-
end audio, home automation, and video gaming. He lives in the armpit of 
Alabama with
his wife Bethany and their four-legged child Bruno, a 75-pound 
American Staffordshire
Terrier who thinks he’s a Pomeranian.

Is Christopher Nolan Too Much of a Purist for His (& Our) Own Good?

Is Christopher Nolan Too Much of a Purist for His (& Our) Own Good?

Since the fate of the summer box office is hanging on it—and possibly of the box office for the foreseeable future, and maybe of the movies as we know them—most of you are probably already well aware of the ongoing saga of the release of Christopher Nolan’s Tenet. (If you’re not, go check out John Sciacca’s brief and to the point “Is Tenet to Die For?”)

 

Well—the date of its U.S. release has now been put on indefinite hold. Which of course creates a hell of a pickle for the other studios, who are itching to get titles like Wonder Woman 1984 into theaters, hopefully before Summer 2020 is nothing more than a troubling memory. Disney is likely to go its own way with its live-action Mulan, even though trying to lure people back into theaters any time soon will inevitably have a serious Hansel & Gretel feel to it.

All of the above could have been predicted. What’s more interesting—and telling—is that Warner Bros. is now considering releasing Tenet overseas while it continues to brood over what it wants to do about it in the U.S.

 

(Before I proceed, and in the interest of full disclosure, I should say that I’m not a Nolan fan. I find his films cold, manipulative, brutal, and condescending and think he’s the second most overrated director in Hollywood. [Actually, he and James Cameron are jockeying for the No. 2 slot.] None of that is really relevant to what I’m about to say—it just felt good to say it.)

 

Anyway—Nolan might have painted himself into a huge corner with his “My great piece of cinema called Tenet shall be released to movies theaters first or it shall not be released at all” position. If we’ve all learned one thing from the current series of rolling crises, it’s that no one can afford to cling to a single, intractable position, no matter how seemingly well founded, because unforgiving forces beyond our control will chop you off at the knees.

 

The stakes are too high, and the situation too perilous, to put your faith in any kind of orthodoxy. Only the nimble, innovative, and open-minded are likely to survive all of this relatively intact.

 

To return to the possibility that Tenet could be released in Europe, Asia, and elsewhere before it sees the light of day in the U.S.—I floated that idea a couple of months ago and was immediately shot down, being told the U.S. box office will always be No. 1 and it was inconceivable a movie that big would find a home everywhere but here. But the foreign box office can add up to at least half of a tentpole film’s haul, and better to take that and run than let what many expect to be the movie of the year sit getting moldy on the shelf.

 

And here’s where Nolan’s “A movie theater is the only 

proper place to see my film” position could become untenable. If, for the sake of honoring that position—or any contractual obligations that might be attached to it—Warner Bros. does decide to launch the film overseas first, we all know it will be bootlegged the second it hits the screen, and in the very next second will be sent streaming around the world.

 

And that means thousands and thousands of people—maybe millions—in the U.S. will first experience Tenet as a crappy illegal dub, with no possibility on the immediate horizon of seeing it under any better circumstances. Unless I’m missing something here, wouldn’t that completely undermine Nolan’s purist stance? Now, he could decide to compromise his self-anointed position as God and have the film released immediately to the U.S. home market in 4K with an Atmos soundtrack and have the vast majority of people who can appreciate the difference see it in better quality than they would experience it in a movie theater.

 

If he actually did care about the quality of the moviewatching experience and the future of the movies, Option 2 would be a no-brainer. But since he appears to be little more than an ego-driven Hollywood poseur (which I realize is a completely redundant description that could apply to practically any contemporary big-budget director), it’s more likely he’ll now just dig in the heels of his imported handmade brogues even deeper.

 

I’ve got to wonder how he feels about wearing a mask.

Michael Gaughn

Michael Gaughn—The Absolute Sound, The Perfect Vision, Wideband, Stereo Review,
Sound & Vision, The Rayva Roundtablemarketing, product design, some theater designs,
couple TV shows, some commercials, and now this.

Can Live Theater Thrive Online?

Inside "Forbidden Broadway"

In Part One, I talked to Tony-winning writer/director Gerard Alessandrini about the genesis of Spamilton, his highly acclaimed spoof of the megahit musical Hamilton. Here we discuss the challenges of getting his show in front of the massive audience that was introduced to Hamilton when it appeared on Disney+, the prospects for touring the latest edition of his legendary revue Forbidden Broadway, and the impact the pandemic is having on the theater world in general.

—Michael Gaughn

It seems like a missed opportunity that you can’t have Spamilton on tour now that everyone’s seen Hamilton.

We’re a little disappointed that theater isn’t happening around the country, because we did have a tour of Spamilton out that was going to many of the cities where Hamilton had already played. Now that Hamilton has been on Disney+, I’m sure we 

would have been getting a lot of bookings and having a lot of fun touring.

 

One thing that bodes well is that Hamilton will probably remain in cycle on Disney+ or elsewhere, so there will still be interest in the show when you do get a tour out.

I absolutely think that’s true. It’ll still be there and everybody will know it from the point of view of the original cast, which is how I wrote Spamilton. So, yes, hopefully down the line, it’ll really make Spamilton more accessible and topical.

 

There is an interesting dynamic now in that Hamilton will still be prohibitively expensive to see when it gets to go back on tour—balcony seats were selling for more than $700 for the Atlanta dates—but you now have a mass audience that’s been exposed to the show through Disney+ that would probably be eager to see Spamilton live—partly because your ticket prices aren’t stratospheric.

That’s exactly right. But, of course, Hamilton is on hiatus, too—there’s no Hamilton in New York; there’s no Hamilton on tour. I’m sure they must be frustrated also.

 

Which of the other recent Broadway shows would lend themselves well to a broader audience via video?

The only show that followed Hamilton that sort of had a freshness and depth to it was Dear Evan Hansen. But I don’t know if they’ve done a video of that. The Hamilton video was done well because they had the money and the opportunity. The show was already a huge, huge hit. But 

most shows don’t have the budget to do a high-quality video production. Rather than record a performance, most producers were probably thinking in the old tradition of “Oh, this will be made into a movie.”

 

But a few other shows besides Hamilton have done high-end videos that are enjoying broadcast. One I saw was SpongeBob: The Musical on Nickelodeon—don’t laugh—and they did an excellent video of it. It was very fun.

You also had a cast for Forbidden Broadway all ready to go out on tour when this hit, right? So, now you’ve got two shows that are sort of sitting in limbo.

We had three or four individual productions of Forbidden Broadway planned for the summer. I know we had one in San Diego, and the San Francisco Gay Men’s

Can Theater Thrive Online?

SpongeBob SquarePants: The Broadway Musical

Chorus was going to do a special and hysterical version.

 

There’s a wonderful regional theater down the street from where I live in Connecticut that’s been celebrated for decades—The Ivoryton Playhouse. We were all ready to do Forbidden Broadway Comes to Ivoryton. I was directing it and writing special material for The Playhouse. We got right up to dress rehearsal. Then we had to stop. All those productions got either postponed or are indefinitely up in the air. So, we’re waiting to see what’s going to happen.

 

What’s your guess about how this is going to play out for those productions?

I think it’s going to be a long time. They’re going to have to have a vaccine before people go back in the theater. Even if the government lets us open these theaters, who wants to risk their lives to see any kind of musical comedy or even a good play? I think theater has been sort of damaged and may have to reinvent itself from the ground up.

 

But I do want to make a guess that the smaller, Off-Broadway theaters and smaller shows like Spamilton and Forbidden Broadway will come back first, because to make a big show work financially, you have to pack a 2,000-seat theater, whereas with Off-Broadway, believe me, we can run with a small audience and make it work. We can even take away seats and make

room.

 

I think the tourism of theater is pretty much going to be on hold for a long time in New York, but New Yorkers are actually going to want to go see something. Ergo, Off-Broadway may have a resurgence.

 

And it’s a lot easier to shoot a smaller show for streaming than a big Broadway show.

We do have some good video of Forbidden Broadway and Spamilton. In the old-school tradition, we also have terrific cast albums that are very professionally done. Cast albums are still viable entertainment.

 

If there’s one good thing for me about Broadway ending or freezing it’s that now neither Spamilton or Forbidden 

Can Theater Thrive Online?

Broadway: The Next Generation are dating in any way. They’re still right up to date.

 

One of the problems with New York theater being closed through at least early next year is that the talent is dispersing out of economic need. It’s too expensive to stay hunkered down in Manhattan. Actors traditionally make money as waiters but the restaurants only have limited service.

Right. Restaurants are attached to theatergoing in New York. And you’ve got to remember that an actor’s range of talent is time-dependent. In other words, you want to see young, beautiful people in a show—and in the movies as well. A lot of talented younger actors are missing their window of opportunity.

 

For example, they were planning to do that big revival of The Music Man with Hugh Jackman and Sutton Foster. But now the stars might be too old for the parts by the time they get around to doing the show. The same is true in sports. Even with the most talented player, that physical prowess and ability to do those wonderful things only lasts a few years where they’re at top peak. By the time they’re in their thirties, they’re too old.

 

There might be a similar problem with hanging onto movies to release them in theaters instead of taking them straight to streaming. Given how quickly everything is changing in society, they could feel out of date by the time they’re released.

How true! I saw a questionable post online that said even Hamilton is out of date because it’s from a different, pre-coronavirus era. I don’t know if that is exactly true but all this has sort of put the kibosh on me as a writer because I write topical humor. So, how do I know something’s going to be funny in six months? I don’t. So, there’s no sense guessing. In the meantime, I’ll stay home and enjoy watching Hamilton and Disney+, and TCM On Demand.

Gerard Alessandrini is a Tony Award-winning writer/director of musicals, best known for the long-
running musical satire Forbidden Broadway and the Hamilton spoof Spamilton, both of which
have been performed in theaters around the world. He has been the lyricist (and sometimes
composer) for over a dozen musicals, including Madame X, The Nutcracker & I, Scaramouche,
and the Paul Mazursky musical of Moon Over Parador, and has won numerous accolades,
including two Lucille Lortel awards and seven Drama Desk awards. His voice can be heard in
Disney’s Aladdin (1992) and Pocahontas. He’s also written special-material songs for many
stars, including Angela Lansbury, Carol Burnett, Bob Hope, and Barbra Streisand.

Michael Gaughn—The Absolute Sound, The Perfect Vision, Wideband, Stereo Review,
Sound & Vision, The Rayva Roundtablemarketing, product design, some theater designs,
couple TV shows, some commercials, and now this.

The Bletchley Circle

It’s pretty easy to take a quick glance at The Bletchley Circle and think you’ve got it figured out. Combine two parts Rosemary & Thyme, one part Sherlock Holmes, one part Numbers, boil until completely devoid of flavor, add a dash of Masterpiece Theatre saccharine and a sprinkle of tut-tut-tea-time-pass-me-a-scone English inoffensiveness, and you’ve got the recipe for my impression of the series before I actually sat down to watch it. And to be frank, if not for my interest in the

Enigma and Lorenz ciphers used by Germany in World War II, and the Allied efforts to break those codes, I likely never would have watched the first episode.

 

But thank goodness I did, because that initial impression couldn’t have been more off-base. True, The Bletchley Circle does owe a debt to the aforementioned properties. And yes, it is unapologetically English. But rather than being just another formulaic murder-mystery series or, worse yet, another boring period drama, the first season actually manages to be a smart, well-scripted whodunnit that carves out its own identity.

 

Actually, to call it a whodunnit is a little misleading. Yes, on 

BLETCHLEY AT A GLANCE

This British murder-mystery series is a masterclass in economical storytelling that assumes the intelligence of its audience. 

 

PICTURE     

The Kaleidescape download is a step up from the streaming version, mainly in its shadow depth and detail. Its 1080p presentation holds up better on screens 65″ and up.

the surface the show follows four former Bletchley Park colleagues who reunite seven years after the end of the war to get to the bottom of a series of murders that have the police baffled. And yes, they use all the tools of the codebreaking trade to analyze patterns and hone in on the elusive killer. But that’s not really what the show is about, and if you watch murder mysteries in an attempt to identify the killer before the big reveal, or to experience that “Ah ha! I should have seen it all along” moment, I’m afraid you’ll be sorely disappointed.

 

What The Bletchley Circle is really about is the relationships between these four women, and their attempts to find their respective places in society after contributing to the war effort and then being forbidden to reveal—even to their husbands—the role they played. What it’s about is a peculiar moment in time when a country is struggling to find its own post-war identity. It’s about the age-old struggle between masculinity and femininity and the social norms surrounding such constructs. And what makes The Bletchley Circle work is that it grapples with all of this without being overtly political or in any way heavy-handed. In lesser hands than those of writer Guy Burt (probably best-known for his work on Showtime’s The Borgias), the series could have easily devolved into the sort of Woman Good/Man Bad culture-war orthodoxy that I sympathize with politically, but always find boring in works of fiction.

 

Thankfully, the struggles the quartet faces as a result of being highly intelligent and highly skilled women living in a world that only knowns how to place them in secretary-, cashier-, librarian-, or housewife-shaped boxes are handled with enough nuance that the series feels true to its time and place. It doesn’t feel like a wholesale re-evaluation of the past through the

lens of current mores.

 

If there’s a criticism to be leveled against the first season of the show—three perfectly paced 46-ish-minute episodes that feel more like a single movie with two built-in potty breaks—it’s that the four leads occasionally feel more like archetypes than fully fleshed-out characters. In fact, at times the young Lucy (played by Sophie Rundle of Peaky Blinders and Gentleman Jack fame) feels like little more than a vehicle for her eidetic memory, which comes in handy when the plot calls for the quick recollection of dates and figures.

 

But such blunders are few, and on the whole The Bletchley Circle is a masterclass in economical storytelling that assumes the intelligence of its audience. Is it worth owning? I’d say yes, but only the first season, which thankfully contains a satisfying story with a proper beginning, middle, and ending. Season Two ups the production-value ante a little, and adds some color to the otherwise beige palette of Season One. It also features a somewhat more on-point storyline that ties more directly into the ladies’ time at Bletchley Park. But some sloppy scripting and puzzling anachronisms keep it from being as satisfying as Season One. My recommendation would be to check out Season Two on Amazon Prime before spending $16.99 to own it.

The Bletchley Circle

Season One, on the other hand, is an easy no-brainer purchase for anyone who likes a good (and I do mean good) period drama or murder mystery. The video transfer available from Kaleidescape is a step up from the streaming version on Amazon, mostly in its handling of shadow depth and detail. The streaming version also suffers from a few chromatic aberrations that might not be noticeable if you’re watching on a 65-inch TV all the way across the living room, but which definitely mar the presentation when blown up to cinematic proportions. The Kaleidescape transfer nips such problems in the bud and looks great on the big screen, even if its resolution is limited to 1080p.

Dennis Burger

Dennis Burger is an avid Star Wars scholar, Tolkien fanatic, and Corvette enthusiast
who somehow also manages to find time for technological passions including high-
end audio, home automation, and video gaming. He lives in the armpit of 
Alabama with
his wife Bethany and their four-legged child Bruno, a 75-pound 
American Staffordshire
Terrier who thinks he’s a Pomeranian.

How “Hamilton” Became “Spamilton”

the original cast of Spamilton (l to r):
Nicholas Alexander Rodriguez, Nora Schell, Chris Anthony Giles, Juwan Crawley, Dan Rosales

Nothing is sacred for Gerard Alessandrini. The various editions of his Forbidden Broadway have been skewering New York theater’s best and brightest for more than 30 years. So of course Hamilton—the most successful Broadway show by far in decades—was way too big a target for him to pass up. But rather than take a single jab at it as a number within Forbidden Broadway, Gerard decided to turn his affectionate but incisive lampoon into an entire show. And thus Spamilton was born.

 

The full-length Hamilton parody was not only a success in New York but spawned both national and international productions. In Part 1 of this interview, I talk to Gerard about Spamilton’s genesis and reception. In Part 2, we’ll discuss the challenges the pandemic poses for getting his acclaimed show in front of the vast new audience created by Hamilton’s airing on Disney+ and about how theater in general is faring in a locked-down world.

—Michael Gaughn

As a parodist, what was your initial reaction to Hamilton?
Hamilton was the biggest new hit show to arrive in New York since I’ve been here, so I thought, “Well, I have to spoof this.” I quickly jumped into learning the show and learning more about Lin-Manuel, who was just an acquaintance at that time.

 

Not really knowing him very well, I thought, “I’ll make this a complete fantasy of what might have been going through his mind at the time he wrote Hamilton.” It was a silly but effective idea. I then mixed in my ideas regarding the show’s effect on Broadway. One of the main thrusts of Spamilton is showing you how Hamilton changed Broadway forever. What would new 

musicals be like? What about all the older divas like Patti LuPone and Bernadette Peters and Liza Minnelli? Would they be able to work after Hamilton?

 

Now that they’ve shown the video of Hamilton on Disney+, people know what it was like to see the show with Lin-Manuel and the original cast—which, of course, is what Spamilton is spoofing. So it makes Spamilton more relevant or topical, and it remains topical even though things have changed on Broadway in the performance or monetary sense.

 

Is this the first time you’ve parodied a complete show?
The closest thing I ever did by way of spoofing a whole show was Les Misérables. When it opened in 1987, I immediately included it in Forbidden Broadwaybecause what better thing to spoof than a serious musical about one of the French Revolutions.

 

So, from 1988 to 2015, I kept adding different spoofs of Les Mis. Christine Pedi—a dear friend who was in Forbidden Broadway and has a radio show about Broadway on Sirius/XM—kept saying, “Oh, you have so many Les Misérables parody numbers, you should put all of them together in one evening.” It’s true, and that may happen yet.

 

Other full-length parodies I mounted were a show I created with Robert Hetzel called Madame X—The Musical, which was performed at NYMFThe New York Musical Festival. It was a very clever spoof on the genre of “women’s pictures.”

In 2010, we presented The Singing Nutcracker with a book by Emmy-winner Peter Brash. Since then, I did a parody of La La Land, which I think has a lot of potential as a spoof of movie musicals through the decades.

 

When Spamilton opened, did people get what you were doing out of the gate or did it have to develop an audience? And did the show appeal to more of a Hamilton audience or more of a Forbidden Broadway audience?

Well, I must say, our timing was perfect. I said, “Let’s do this in July 2016, after the Tonys are over and Hamilton has won all the awards.” It was also the second anniversary of the show premiering downtown, so I thought that gave them plenty of time to celebrate the great thing they’d done. So, by July, it was time to make Hamilton and Lin-Manuel a comedic target. It seemed the All-American thing to do. So, voila! Spamilton: An American Parody.

 

We first presented it in a cabaret, which was small and informal. We didn’t even take out an ad, but as soon as we just put a poster in the window of the Triad Theater, we completely sold out. The audience was full of Hamilton lovers—and, believe me, they clearly knew what we were doing. Everybody already loved all the songs, because the Hamilton cast album was out. So, it was a bullseye, based on timing and place.

 

By the end of 2016, we moved to the Puerto Rican Traveling Theater on West 47th Street—a block away from the real HamiltonIn total, we ran for over a year and a halfan amazing run for a parody show. Our producers included John Freedson, the producer of Forbidden Broadway for the past 30 years, and David Zippell, the great Broadway and film lyricist. They also mounted a production in Chicago.

 

After that, we had a wonderful and lauded production in LA at the Center Theatre Group in Culver City. Next came a spectacular production in London at The Menier Chocolate Factory. David Baboni and The Chocolate Factory had mounted three very successful productions of Forbidden Broadway before. So doing Spamilton went very smoothly and was delightful fun.

 

Then, we came back and launched a national tour, hitting the cities where Hamilton had already played. Of course, Hugh Fordin of DRG Records also recorded an excellent cast album, which is still very popular.

 

I would say more people who love Hamilton are interested in Spamilton than Forbidden Broadway fans. It’s Hamilton lovers who are coming to hear the songs they love turned inside out.

How "Hamilton" Became "Spamilton"

What was Lin-Manuel’s reaction?

He’d come to Forbidden Broadway to see In the Heights spoofed twice, and that was very flattering. He’s a good sport and he’s got a great sense of humor.

 

I think he had been a fan of Forbidden Broadway since he was young. He told me once that, in 1996, he got up very early in the morning to run down to

Sam Goody’s, the record store, to buy the first release of the Forbidden Broadway Strikes Back cast album. He was excited because it contained an extended spoof of Rent, which he loved.

 

So, when we were doing Spamilton, I emailed him and said, “Come see it.” And he came with Tommy Kail and Alex Lacamoire, his superb director and fabulous musical director. It was such a thrilling evening. People knew who they were, so the audience was psyched. And the cast knew they were there because the Triad is only 30 feet deep, so you can see

everybody in the audience.

 

That’s got to be intimidating.

It was a little intimidating for some of the younger cast members, but everybody delivered an excellent performance. You could just see Lin-Manuel laughing hysterically. After the show, he was very attentive to the cast and me. He said, “How did you know all that stuff about me? Now I have to go to therapy after seeing what you put on the stage. ” And I said, “Well, I didn’t know anything, really. I looked everything up on line and made up the rest!”

How "Hamilton" Became "Spamilton"

Gerard and Lin-Manuel

He was just a doll. They stayed and talked with us for maybe over an hour. The cast—they are very young, talented people—they were just so thrilled to meet him. He was very generous to them. He said, “Have you seen Hamilton?” Of course, none of those kids could afford to see Hamilton. So, he arranged for everyone to see it, including me and my partner Glenn.

 

And Glenn—who was playing King George in Spamilton and was the stage manager—went down to the Richard Rodgers Theatre to pick up the tickets for everybody. When he came back with them, I joked, “That’s $10,000 worth of tickets. Let’s sell them and run away forever to Rio.” Of course, the truth is we would rather stay in New York and see Hamilton!

Lin-Manuel saw Spamilton again a few months later with his wife and in-laws. When he first came to see it in July of 2016, everybody certainly knew who he was, but when he came back the second time, he had just been the host on Saturday Night Live the night before, right? And it was like the Beatles were coming to see the show. There was a huge crowd outside the theater just because Lin-Manuel had walked in.

 

After the show, he was again being nice to the cast, but people were coming up from the street and crowding onto the stage and bothering poor Lin-Manuel and his wife. People who hadn’t even seen the show were asking for his autograph and things like that. He had become a superstar in just six months.

 

I sent him the cast album when we recorded it, and he let us put his quote, “I laughed my brains out,” on the front cover. In order to tour the show, we had to get permission from him and his producers because a good three-quarters of the show is real music from Hamilton. We do have some restrictions. We have to do Spamilton in small theaters—we can’t park it in a huge theater. But we’re happy to do that because it’s the kind of show where you should have a drink in your hand.

 

It feels like a much bigger show than it is. The choreography seems to have a lot to do with that.

I’ve worked with Gerry McIntyre before on Forbidden Broadways and Forbidden Hollywoods as a performer, but he’s also a great choreographer. He’s like top, top notch. He should be choreographing Broadway shows, and maybe he will when theater returns. He did a fantastic job with Spamilton, because he knows all the great Broadway choreographic styles through the decades. Add to that his great sense of humor and unabashed showmanship. Having done Forbidden Broadway and Forbidden Hollywood, he knew it had to be funny as well as really sharp.

Gerard Alessandrini is a Tony Award-winning writer/director of musicals, best known for the long-
running musical satire Forbidden Broadway and the Hamilton spoof Spamilton, both of which
have been performed in theaters around the world. He has been the lyricist (and sometimes
composer) for over a dozen musicals, including Madame X, The Nutcracker & I, Scaramouche,
and the Paul Mazursky musical of Moon Over Parador, and has won numerous accolades,
including two Lucille Lortel awards and seven Drama Desk awards. His voice can be heard in
Disney’s Aladdin (1992) and Pocahontas. He’s also written special-material songs for many
stars, including Angela Lansbury, Carol Burnett, Bob Hope, and Barbra Streisand.

Michael Gaughn—The Absolute Sound, The Perfect Vision, Wideband, Stereo Review,
Sound & Vision, The Rayva Roundtablemarketing, product design, some theater designs,
couple TV shows, some commercials, and now this.