Chad Jones’ Theater Dogs

Saw a fantastic documentary last night that I highly recommend: Word and Music by Jerry Herman. It was on PBS for about a second, but it’s available via PBS Home Video.

Clearly this was a labor of love for Amber Edwards, who produced, wrote, directed and edited the 90-minute movie. She adores Herman, and it’s easy to see why. He’s frank, funny and endearing. He and Edwards do corny things like visit his childhood home and grade school, but the better part of the film is spent concentrating on Herman’s extraordinary work. And it is extraordinary. Too often Herman is dismissed for not being Sondheim. But there’s something to be said for a man who writes music and lyrics that inspire joy, or at the very least, a smile. Herman is more than capable of doing that.

Of the many talking heads, Michael Feinstein is the most eloquent about Herman’s musical skill, which is underrated. Feinstein demonstrates Herman’s skill by singing a song cut from Hello, Dolly! called “Penny in My Pocket,” then he unleashes Herman’s genius for lyric and melody when he sings “I Won’t Send Roses” from Mack and Mabel.

There’s great footage — seemingly from somebody’s home movie camera — from the original Broadway productions of Dolly and Mame. Of particular interest to me was the section on Dear World, the flop the followed hot on the heels of the Dolly-Mame juggernaut. Angela Lansbury starred in Herman’s musical adaptation of Giradoux’s The Mad Woman of Chaillot. It’s my favorite of Herman’s scores, and, somewhat ironically, it contains some of his worst songs. I’ll gladly tolerate the mediocrity of the title song (which Herman admits was a mistake) to revel in the rich musical pleasures of “Each Tomorrow Morning” or “I Don’t Want to Know.” Lansbury says she must take some of the blame for the show’s failure (in spite of the Tony Award she won for it), but the divine Angela can’t really be blamed for anything but being a consummate pro.

Another of the movie’s heroes is George Hearn, who did drag in a big way in Herman’s La Cage aux Folles. I had no idea that Hearn, who was genius in the role of ZaZa/Albin, was embarrassed by the drag — at first. He got used to it. Hearn is clearly moved by the experience to this day and the effect the musical had on people.

The extras on the DVD are few but delectable. We get the full title song from Hello, Dolly! as performed at Lyndon Johnson’s inaugural ball in 1965 (black and white, small stage, synched to the original cast recording). Carol Channing is at her preening best. There’s also a well filmed clip of a number called “Dancin’ Shoes,” which Herman wrote for his 1955 college show at the University of Miami. It’s very Gene Kelly-ish. And finally, from The Merv Griffin Show, we get a great clip of Herman playing piano while Ethel Merman sings “Before the Parade Passes By.” We don’t get much of Ethel and Jerry’s time on Merv’s couch (where Lucille Ball, curiously, is a guest), but we get a tasty morsel.

Seeing Herman’s body of work together like this — from Parade and Milk and Honey to The Grand Tour — helps foster new appreciation for a great American composer who, when all is said and done, will find his place next to greats such as Irving Berlin and, yes, Stephen Sondheim.

For more information visit www.pbs.org.

Here’s the brilliant George Hearn singing “I Am What I Am” from La Cage aux Folles.”

(all photos Associated Press)

“Musical theater rocks,” so said Duncan Sheik with a sly smile and a twinkle in his award-drunk eyes during Sunday’s Tony Awards.

Here’s Sheik on the red carpet before the event.

That’s the smile of someone who knows he’s going to win two Tonys (for best score and orchestration for Spring Awakening.

Another gorgeous red carpet arrival was best actess in a musical nominee Audra McDonald (110 in the Shade), who would not go on to win her fifth Tony.

But she would go on to electrify the audience (in Radio City Music Hall and at home) with the number “Raunchy” alongside co-star (and fellow nominee) John Cullum.

Returning to the red carpet, here’s the lovely Laura Bell Bundy, nominee for best actress in a musical for her role as Elle Woods in Legally Blonde. To no one’s surprise, Bundy did not win, and Blonde failed to win in any category.

Looking like the Broadway royalty she is, Angela Lansbury, a best actress in a play nominee for Deuce, arrives. That’s Harry Connick Jr.’s daughter in the rear looking at Lansbury adoringly (”Daddy! It’s the voice of Mrs. Potts!). Lansbury lost to an ecstatic Julie White for The Little Dog Laughed, but she was a gracious ad hoc host.

Cutest married couple award on the red carpet goes to Idina Menzel and Taye Diggs. Neither was nominated but they should have received an award for looking so good.

I am thrilled that David Hyde Pierce, by all accounts a marvelous guy, was the surprise winner for best actor in a musical (for Curtains), but I was a little disappointed for Raul Esparza, who is electrifying as Bobby in the John Doyle revival of Company (which won best musical revival). On the red carpet he was clearly amused by the whole shebang.

Esparza’s performance of “Being Alive” during the awards was just a taste of how good he is in this show.

Another cutest couple award goes to a non-couple: presenters Cynthia Nixon and Felicity Huffman, who should definitely find a project to work on together.

Speaking of couples, hard to resist including a snap of Liev Schreiber and Naomi Watts. In Hollywood that’s called a baby bump. In New York, it’s called pregnancy.

In the realm of manufactured couples, here are the reality show castees Max Crumm and Laura Osnes, who will be starring on Broadway in the much-needed revival of Grease.