The Return Of Parlor Theater!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!

                                       This post is not just for Theater Queens, though they should take note.

                                        With the shutdown of theater in NYC, what is one to do?  Thanks to my penchant for period literature, I have found a solution!  It is a return to something that was popular from the time of Jane Austen, through the Victorian Age--Parlor Theater.

                                            It is simply the enactment, in one's own living room, of theater pieces of of one's choosing.  Plays, musicals, and divertissements were popular during the era.  Today, there are more choices and opportunities for the bored amateur, or aspiring Theater Queen.  I have listed ten selections--five plays and musicals, I find workable and adaptable, to a living room setting.  But mind, these are only suggestions, not commands.  Though, keep in mind, I AM The Raving Queen!

           
                                             So, what are the suggestions?

                                             Let's start with--

                                             Plays

                                       1. "The Bad Seed," by William March--This is a cinch!  Because the entire play takes place in a living room!  If you have several people, roles can be doubled up, but make sure there is a first rate Christine and Rhoda!  And if the director must drive cast members to the brink of hysteria, in order to achieve those perfect performances, then so be it!

                                     2.  "The Children's Hour," by Lillian Hellman--Pretty much the same thing, the living room setting works, and the fewer people there are, the more opportunity for the actors to shine, as they may have to double up in the role of school girls, teachers, and matriarchs.  Only one man in the cast.  Who says Hellman did not know what she was doing?

                                     3. "Portrait Of A Madonna," by Tennessee Williams--This is for those Theater Queens who have dreamed of playing Blanche DuBois!  And who among us hasn't?  This one act work is like a rough draft of the final scene in 'Streetcar.'  In fact, it was Jessica Tandy performing this out in California, that landed her the job of originating Blanche on Broadway.  All you have to do is muss up the living room a little, to make it look run down, and then go to town as Miss Lucretia Collins, a Theater Queen's dream!  The minor male roles can be doubled, or tripled, or played as asides, if one is alone.  Of all the dramas on here, this is the easiest to enact!

                                     4. "Who's Afraid Of Virginia Woolf?," by Edward Albee--No one is going to see the one with Rupert Everett an d Laurie Metcalfe, so why not do your own?  If more than one person resides in your house, I guarantee there will be a big fight over who gets to play Martha!  When my childhood friend, 11, at the time, found the play in his parents' closet--who knew they were so venturesome?--we took it, and performed it ourselves.  I won over the fight to play Martha!  Of course!  Once you are past that hurdle, it can either be a one person show, or the full thing--which is only four people.  Though if one of the four is a toddler, you have casting problems.  And would a prepubescent child, even today, know the meaning of "hump the hostess?"  This is also a living room
play, so the setting is perfect!  Actually, any child today old enough for "Annie," should be fine, for this!

                                      5.  "The Member Of The Wedding," by Carson McCullers--This is easily performed in a living room setting, and if there are a maximum of three people residing, even with a child between eight and ten years of age, you are off and running!   As actors, it is good exercise for learning Negro and/or Southern dialect.  And, of course, if you are alone, then the show is yours.  Pick up the skill of an adult transitioning to a juvenile, via the roles of Frankie and John Henry.  Make sure you learn how to sing "His Eye Is On The Sparrow."  This could be a moving and educational experience for one and all.

                                      Those are the plays.  Now, the musicals.  These are more difficult, because most occur in very specific places other than a living room.  Now, girls, I know many of you have your heart set on it, but forget "Follies."  It is impossible to replicate under these standards.  And if you cannot hit the high note on "Ice Cream," forget "She Loves Me!"  The same goes for "Candide!"
However, there are still plenty of valid opportunities.

                                      1. "HAIR,"by Gerome Ragni and James Rado-- Many of us Theater Queens know it, girls. It has stood Time's test better than "RENT" ever will.  Just toss some pillows about the living room floor, and one can easily imagine a Sixties East Village crash pad!   The biggest fight, for habitation of more than one, will be who gets to sing the solos--especially "Frank Mills."  Without Shelley Plimpton, or myself, there, it could turn into a battle royal.  Theater Queen guys have always wanted to sing "White Boys," so that is no problem.  As for the other Black numbers, just sell it, girls!  This ain't no minstrel show!  Even alone, let the Age of Aquarius dawn!!!!!!!!!!!!!

                                       2. "COMPANY," by Stephen Sondheim--Of all his shows, this is the one most adaptable to the living room setting.  The more residents, the more to be divided into vocal  parts.  If alone, the challenge is to see how quickly you can overlap and pick up lyrics, how fast you can do Amy's part on "Getting Married Today,--it takes LOTS of practice!!!!--and who has the breath control for "Another Hundred People."  Everyone wants to sing that one, girls!  Now is your chance!

                                       3. "A CHORUS LINE, by Michael Bennett, Bob Avian, James Kirkwood, Nicholas Dante, and Marvin Hamlisch-- Be careful with this one, dolls!  I wanted to say in my comments on "COMPANY," when it gets to "Poor Baby," do NOT attempt to dance the  Donna McKechnie role of Kathy.  It is not even used in current productions because--NO ONE AMONG US IS DONNA McKECHNIE!!!!!!!!!!!!!   I am always scanning YouTube for staged excerpts from this show, and the other day, I came across something I would rather had not seen.  It was a man, in a dance studio, doing "The Music And The Mirror," in full, red, Cassie regalia.  Now, gay guys, I know we all want to be, or think we are, Cassie and Sheila, but this definitely shows that, however we may want to, Cassie is not a role for us.  If you have a house full of two left feet, concentrate on "A Chorus Line"s" Less technical numbers; there are some lovely moments, requiring only basic moves, like "At The Ballet," "Nothing,"
"Dance Ten, Looks Three," and "What I Did For Love."  For the big, ensemble numbers, just go with it, but don't kill yourselves...mark!  As for "One," do as much as you can from memory.  The more people there are, the better, but it is possible to do this show alone, and get it across.  Remember, this is Parlor Theater--not the real thing!

                                         4. "GODSPELL," by Stephen Schwartz--Jesus, why not?  A small cast, numbers a lot of Theater Queens know, and adaptable to any setting!  I know some Theater Queens who are aching to tear into "Bless The Lord," but think twice on that one, after hearing Lindsay Mendez do it!!!!!!!!!!!  If you are still determined, go ahead!  Personally, I like the challenge of "By My Side," which is mellow and soft, and offers the challenge of two people or doubling up!  The more the merrier for this role, but I am sure neighbors in the Tri-State area will not be put off by some Theater Queen belting out "Save The People!" in the middle of the day!

                                        5. "FUNNY GIRL," by Jule Styne and Bob Merrill--I know, I know, girls!
This is the biggest of all the shows, so it demands scaling down right away.  But let us face it, so many of us out there have wanted to be BARBRA, that now, here is that chance!  The template for this presentation is the Original Broadway Cast Album, meaning if you do not know that score--and while there are many who do, I believe now there are more who don't--then LEARN it!  Because the non- Fanny numbers are beautifully written, and fun to perform!  One exception I would allow--while I love "The Music That Makes Me Dance," if you want to sing "My Man!" in that spot, you have my permission to do so!  One advantage to "Funny Girl"--you don't have to find two people to play Caroline, The Cow, as in "Gypsy."

                                        There you have it, girls!  I would love to have included "Henry, Sweet Henry," "The Grass Harp," "GYPSY," "RAGS," or "Runaways," but these are vocally complicated and not as well known!  And "ANNIE" requires a dog!  You can't have an iguana or bird play Sandy!

                                          Just getting one of these on its feet will be enough of a challenge through this difficult period!  I want to hear from you about how successful you are with these, or if you have preferences of your own!

                                           Break a leg, darlings!  And, remember, even if Broadway and such is down, we can still put on our own show(s)!!!!!!!!!!!!!!!!!!!!!!!

                                             Just like Mickey and Judy!!!!!!!!!!!!!!!!!!!!!!!!!!