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    ‘Party Down’ Is Back. Did You R.S.V.P.?

    The invitations have been sent, the appetizers plated, the bottles opened. Rows of glasses gleam like baby stars. And somewhere, on the fringes of the celebration, a cater waiter is about to do something very wrong.This was the template of “Party Down,” a Starz comedy that ran for two 10-episode seasons, debuting in the spring of 2009. Canceled just as critics and niche audiences were beginning to catch on, the show followed the disaffected employees of a mid-tier catering company as they moved from party to party, one per episode, filching booze, seducing guests, snorting coke,  flirting with Nazism and accidentally poisoning George Takei.The original 20 episodes never included a surprise party. But get your streamers and party blowers ready. Because in a surprise to just about everyone — most likely including the folks at Nielsen, who once awarded the show’s finale a 0.0 rating among 18- to 49-year-olds — “Party Down” is back. A six-episode revival will premiere on Starz on Feb. 24, with new episodes arriving weekly.Martin Starr, a returning cast member, seemed to genuinely marvel at the development.“This was the only show I’ve worked on where people came to work when they weren’t working,” he said in a group video call. “It’s crazy that we get to come back and do it again.”“Truth be told,” his co-star Ken Marino said, “the reason I came back to set when I wasn’t working is I was between homes.”Starr: “I do remember you were finding places to go to the bathroom that maybe didn’t have your name.”Marino: “I still do. I’m going to the bathroom right now.”Is this the same “Party Down” that failed to dominate cable television over a dozen years ago? Mostly. The show’s original creators, John Enbom, Dan Etheridge, Rob Thomas and Paul Rudd, remain, as executive producers, and Enbom oversees a small staff of writers. The party-a-week structure also endures, as does the original cast — with the exception, based on the five episodes provided in advance, of Lizzy Caplan.In the revival, all of the original main characters (except for Casey, played by Lizzy Caplan, not pictured) are either pulled back into cater waiting or never stopped. Starz“All of us, for the entire 13 years since we stopped shooting the show, all we wanted to do is make more ‘Party Down,’” the show’s lead, Adam Scott (“Parks and Recreation,” “Severance”), said in a separate interview last month. “We all would have been there for free.”But the world has changed in the dozen or so years since the original run was canceled. So have the actors. Unknowns or barely knowns when the show debuted, most have since become household names. (The others? Depends on the household.) And they’ve all seen the current crop of disappointing reboots and reprises. “Party Down” could just be the rare show to get it right, mixing the perfect cocktail of star power, nostalgia, growth and gags.Then again, the characters never put a lot of muscle into bartending. So here’s a Zen koan for a deeply un-Zen show: Can you throw the same party twice?Are we having fun yet?The first run of “Party Down” was both structural marvel and joke spectacular. Each episode was simultaneously a workplace comedy, a hangout comedy and a procedural — a sitcom that never sat down. The celebrations it featured — birthdays, after parties — typically bordered the entertainment industry and nearly all of the cater waiters harbored industry dreams of their own.Those dreams eluded them, which fueled the philosophical inquiry at the show’s center.“What we were asking was: How long do you chase the dream?” Thomas, one of the creators, said. “When do you grow up? When do you quit banging your head against the wall?”The “Party Down” staff are all trying to make it, as actors, screenwriters and comedians. (Marino’s Ron, the manager, has a different dream: a Soup ’R Crackers franchise.) Only Henry (Scott), who has traded beer-commercial celebrity for free-floating despair, has opted out. The actors were trying back then to make it, too. None of the original cast — Caplan, Ryan Hansen, Jane Lynch, Marino, Scott, Starr — were anything like famous when the show began. Acting in a comedy about the entertainment industry’s has-beens, also-rans and never-wills resonated with the cast, sometimes uncomfortably.“It felt so close to home, this show, because I felt like I could be a caterer the next day easily,” Hansen said.Scott, who at the time had yet to play a lead, then shared that sense of career tenuousness. The cast felt deeply connected to the show in those first seasons, he said, and protective of it. “We just wanted to do it forever, because it made us feel better,” he said. “It really did.”“All of us, for the entire 13 years since we stopped shooting the show, all we wanted to do is make more ‘Party Down,’” Scott, fourth from left, said.Chantal Anderson for The New York TimesThe salaries, though small, kept a few of the actors on the sunny side of financial precarity. The camaraderie helped, too. (That camaraderie remains; I had four of the actors together on a video call, and I have never heard grown men exchange so many “Love yous.”) Several actors separately compared the original shoot to summer camp.That genuine affection altered the show’s tone. Some first season episodes included “edgy” humor — gay jokes, post-racial jokes. (“It’s cringey, yeah,” Starr said.) But the creators quickly realized they didn’t need that edge. The show was sadder than that. Funnier, too. The characters are screw-ups, sure, but the show suggests that everyone is a screw-up, especially after an hour at an open bar. So maybe the best thing is to find common cause as you pass the hors d’oeuvres.“It’s about people who think that they’re going to find happiness in something out there,” Lynch said. “But what they have right in front of them is really quite sweet.”Lynch shot the first eight episodes. Then she had to leave for the Fox show “Glee.” Marino hired a stripper for her wrap party. The stripper, Lynch recalled, smelled of French fries. The show went on, with Jennifer Coolidge replacing Lynch for two episodes and Megan Mullally, the only actor who was already well-known, coming in for the final 10.The creators believed that it would keep going, even though, according to Nielsen, the Season 2 finale attracted only 74,000 viewers. Starz had other plans. Those plans didn’t involve letting the creators take the show elsewhere. “Party Down” languished.One decade, zero dinnersIf the original run argued that it’s healthier to let some dreams die, the creators and the cast could never quite manage that. There were talks, every year or so, of getting the crew back together — for a special, for a movie, for a move to another network. Friends and fans often asked Marino about it.“I was like, ‘They’re working on it,’” he said. “‘It’s going to happen! Right around the corner!’” It took him eight or nine years to accept that maybe that corner wasn’t coming.Then in 2019, Starz appointed Jeffrey Hirsch as its new president and chief executive. Thomas reached out to Hirsch and began pitching the show again. Hard. This time, Starz said yes.That was only the first hurdle. The actors had conflicts and prior commitments now. The revival was approved in the summer of 2021, with production scheduled for early 2022. Lynch was to begin rehearsing a Broadway musical. Scott was making the Apple TV+ show “Severance.” Mullally had booked a movie being shot in Idaho.Somehow a six-week window was found, even though that window involved flying Mullally to Los Angeles every weekend and back to Sun Valley by Monday.When “Party Down” debuted in 2009, none of the main cast were anything like famous.StarzIn the new season, the main cast has become more diverse, with the inclusion of two new regulars: Zoë Chao, second from left, and Tyrel Jackson Williams, far right.Starz“We could never get together for dinner for a decade,” Etheridge, a creator, said. “But when we came to shoot the show, everybody was there.”Everybody except for Caplan, who had signed onto the FX series “Fleishman Is in Trouble.” (Asked whether Caplan might make a surprise appearance in Episode 6, Starz declined to comment.) Enbom had originally structured this new season around the on-again-off-again relationship between Henry and Caplan’s Casey. He had to restructure it, adding a new character, a studio executive played by Jennifer Garner. The revival’s first episode takes time out to heckle Caplan: Casey, now a successful comedian, can’t make a crew reunion.“She’s shooting in New York,” Starr’s Roman, still an aspiring “hard sci-fi” writer, says. “Too big time for the likes of us.”There were fewer jokes in real life. Hansen tried to make light of the situation. “Listen, we get it,” he said. “She had a job, whatever. I mean, I personally turned down a Marvel movie to do ‘Party Down.’”“Tell that to everybody,” he added.But just about everyone described themselves as heartbroken, including Caplan. “If I think about it for too long, I start to cry,” she wrote in an email. She sent cupcakes to the shoot.The bow tie abidesHollywood has transformed in the years since “Party Down” first concluded, and in some ways the show has, too. Gratuitous boobs are gone now. And the catering crew, once blindingly white, has become more diverse with the inclusion of two new regulars: Sackson, a YouTube-style content creator played by Tyrel Jackson Williams, and Lucy, a chef played by Zoë Chao who styles herself as a “food artist.”Yet, the sweet-sour, slightly funky flavor of “Party Down” — like a margarita made with off-brand liquor — is mostly unaltered. This seems to be the rare revival that understands what made the original work, yet can still move (or move just enough to include the occasional TikTok dance challenge) with the times.“We kept doing what we’d always been doing, just with new details,” Enbom said. “Because society certainly has not changed into a more wholesome place.”Have the returning characters changed? That depends on how much you and your therapist believe that change is possible. “They’re still the same lovable knuckleheads,” Mullally said. “Most of these people haven’t really moved on, or they haven’t really become any happier, or more fulfilled in their lives.”Friends and fans often asked Marino, top left, whether the series would be revived. “I was like, They’re working on it!,” he said. “Right around the corner!” It took nearly 13 years.Chantal Anderson for The New York TimesSlinging hors d’oeuvres hits different and more darkly in midlife. Still, the creators and the cast didn’t want the revival to feel like a bummer.“It’s going to be fun watching the characters try to claw their way toward something other than their current circumstances,” Scott promised.And if not exactly “fun,” then certainly relatable. “Really who gets what they want in this life?” Lynch said.She probably meant that rhetorically. But the “Party Down” die-hards, Lynch included, did get what they wanted, a third season. And they seem to have delighted in making it, though Marino joked that he’d had to slim down before he could fit into his signature pink bow tie.“Had to work off that neck fat,” he said. “Got my neck nice and lean.”Slipping on that outfit was a little more stressful for Chao, a newcomer. She had watched the show, years after its debut, while working a food-service survival job herself. “Party Down” had made her feel less alone. She didn’t want to ruin it. “I whispered to myself every day, going onto set, ‘Be the least funny, but by as little as possible,’” she said.Williams expressed similar gratitude and anxiety. “Everyone was so sweet and welcoming from the very beginning,” he said. “It never felt like an intimidating environment.” And yet, he added, “there was still like this insane fear.”The returning cast faced related, if less acute, worries. They have been in the business long enough to understand how revivals can go wrong. (A few of them had even appeared in revivals that flopped.) But they were reassured by the scripts, written by Enbom and a small staff, which suggested a continuity of character and tone and food-poisoning-induced body horror. There was also the pleasure of being together again — a little older, a little grayer, but still able to drop a tray on cue.Will the ratings for this coming season be better? Comfortingly, they can’t get much worse. But the cast and creative team are counting on the show’s turning enough heads that Starz will greenlight a fourth season. (“You better believe I’m not missing that one,” Caplan wrote.)Though Starr is inclined to cynicism, he sounded only mildly sardonic in discussing this ambition. “I really do hope we’re allowed to come back and do it again and keep up this little charade we’ve got going,” he said.Hansen put it a bit more pragmatically. “In 12 years, people are going to love Season 3.” More

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    Lea Michele to Star in ‘Funny Girl’ After Beanie Feldstein’s Departure

    The former “Glee” star will share the stage with Tovah Feldshuh, who will replace Jane Lynch as Fanny Brice’s mother, starting Sept. 6.The actress Lea Michele will take over as Fanny Brice in the Broadway revival of “Funny Girl” in early September, the show said Monday, after Beanie Feldstein’s abrupt announcement that she would be leaving the role earlier than expected.Feldstein wrote in an Instagram post on Sunday night that her “dream” run as Brice, a spunky stage performer who shoots to stardom with the Ziegfeld Follies, would end on July 31, instead of the previously announced date of Sept. 25. Without elaborating, Feldstein, whose performance in the role received tepid reviews, wrote that she would leave the musical early because the production had “decided to take the show in a different direction.”The show quickly signaled that it had her successor waiting in the wings, and on Monday, it was announced that Michele — who starred in the original Broadway production of “Spring Awakening” and is best known for her central role on the television show “Glee” — would be debuting in the role on Sept. 6.Until then, the actress Julie Benko, who has been playing Brice as Feldstein’s understudy, will step in. Under a new arrangement, Benko will continue to perform in the role once a week, on Thursdays, after Michele takes over.In an Instagram post after the news was announced, Michele wrote: “A dream come true is an understatement. I’m so incredibly honored to join this amazing cast and production and return to the stage playing Fanny Brice on Broadway.”The show also announced that the actress Tovah Feldshuh, who starred in the original Broadway production of “Yentl,” will be taking over the role of Brice’s doting mother, who is currently being played by Jane Lynch. The show had previously announced that Lynch would be leaving after Sept. 25, but the new announcement moved her departure a few weeks earlier. That timetable means that Michele and Lynch, who were co-stars on “Glee,” will not be performing together.Tovah Feldshuh will replace Jane Lynch in the role of Brice’s doting mother in “Funny Girl.”Tony Cenicola/The New York TimesAfter Barbra Streisand originated the role of Brice in the original 1964 production, the show evaded a Broadway revival for decades, partly because comparisons with Streisand’s star-making performance seemed hard to escape.It has been no secret that Michele — who opened each chapter of her 2014 memoir, “Brunette Ambition,” with a Streisand or Brice quote — had interest in the role. A central plotline of her character on “Glee,” a cutthroat captain of the high school glee club on which the show is based, involves playing Brice, giving Michele the chance to perform songs like “People” and “I’m the Greatest Star” during the series.The “Glee” co-creator Ryan Murphy had gotten the rights to “Funny Girl,” thinking that Michele’s character would audition for the role on the TV series and then, perhaps, Michele would star in the show in real life. In a 2017 appearance on Andy Cohen’s talk show, Michele said they had been considering collaborating on a Broadway production after the end of “Glee,” but it felt too soon because she had just performed many of the songs on the TV show.“But I feel really ready to do it now,” she said on the show, “so maybe we can do it soon.”That dream did not come to fruition — until now.Michele was 8 years old when she made her Broadway debut as Young Cosette in “Les Misérables,” but spent more than a decade focused primarily on television. Michele sang at last month’s Tony Awards during a reunion performance with other original cast members of “Spring Awakening.”In 2020 the meal-kit company HelloFresh terminated its partnership with Michele after a former “Glee” castmate, Samantha Marie Ware, who is Black, tweeted that Michele had been responsible for “traumatic microaggressions” toward her. Michele released an apologetic statement on Instagram saying she did not recall making a specific comment that Ware wrote about, but adding that she had been reflecting on her past behavior. “Whether it was my privileged position and perspective that caused me to be perceived as insensitive or inappropriate at times or whether it was just my immaturity and me just being unnecessarily difficult, I apologize for my behavior and for any pain which I have caused,” she wrote.The current production of “Funny Girl,” which opened in April at the August Wilson Theater, has had strong ticket sales, grossing an average of about $1.2 million each week during the 14 full weeks since it started performances. The show’s only nomination at last month’s Tony Awards was for Jared Grimes’s role as Brice’s friend, Eddie Ryan, a tap-dance extraordinaire who aids Brice’s rise in show business.Grimes will continue in his role, as will Ramin Karimloo, who plays Brice’s suave love interest, Nick Arnstein. More

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    ‘Funny Girl’ Review: Broadway Revival Shows Why It Took So Long

    Beanie Feldstein stars as the comic Fanny Brice in the show’s return after almost 60 years.It must be a plot. Why else would it have taken nearly 60 years for “Funny Girl,” the hit 1964 musical about the comic Fanny Brice, to be revived on Broadway, when most Golden Age shows with even half a wit left in them — let alone such a fabulous score — have been revived unto exhaustion?And why does the mild version that finally made it, in a production starring Beanie Feldstein that opened Sunday at the August Wilson Theater, seem likely to prolong rather than break the spell?That I can answer in two words: Barbra Streisman.Or so Jerome Robbins, who “supervised” the original production, misspelled the name of an exciting young singer, then about 20, on a list of possible Fannys he drew up around 1962. That list, which also included such established stars as Judy Holliday, Eydie Gormé and Tammy Grimes, put Streisand, as she was properly but barely known, in third place.She was first on Jule Styne’s list, though. The show’s composer deliberately wrote the “toughest score” he could — rangy and histrionic in places, delicate and restrained in others — so “only Barbra could sing it.”And so it has been. As the show developed, coiling itself around Streisand’s offbeat, aggressive, once-in-a-lifetime talent — not to mention her Brice-like nose, which shows up repeatedly in Bob Merrill’s lyrics — the odds of a truly successful successor diminished. And without a stupendous Fanny to thrill and distract, the musical’s manifold faults become painfully evident.Feldstein with Kurt Csolak, left, and Justin Prescott in the show, directed by Michael Mayer.Sara Krulwich/The New York TimesTo rip the bandage off quickly: Feldstein is not stupendous. She’s good. She’s funny enough in places, and immensely likable always, as was already evident from her performances in the movies “Booksmart” and “Lady Bird” and, on Broadway, in “Hello, Dolly!” You root for her to raise the roof, but she only bumps against it a little. Her voice, though solid and sweet and clear, is not well suited to the music, and you feel her working as hard as she can to power through the gap. But working hard at what should be naturally extraordinary is not in Fanny’s DNA.Still, you can’t blame Feldstein for the show’s problems; that would be like blaming the clown for the elephants. The main elephant is the book, written by Isobel Lennart and fiddled with for this production by Harvey Fierstein, to no avail. Tracing Brice’s rise from gawky waif to Ziegfeld star between 1910 and 1927, along with the corresponding decline of her romance with the “gorgeous” gambler Nick Arnstein (Ramin Karimloo), it bites off more than it can chew and then, at least in Michael Mayer’s production, repeatedly refuses to chew it.The highlights-only approach is a problem in most biographical musicals, exacerbated in “Funny Girl” by its unusually high quotient of fictionalization. Brice’s family was well off, not poor, but the rags-to-riches arc made the plot more appealing. When she met Arnstein, she was no innocent, as suggested by songs like “You Are Woman, I Am Man”; she’d been married already — and he still was. The famous Ziegfeld number in which she stuffs her wedding gown to appear pregnant (“His Love Makes Me Beautiful”) never happened, and if it had, she’d have been fired.Feldstein in “His Love Makes Me Beautiful,” a Ziegfeld number that Fanny plays up for laughs by stuffing her wedding gown to appear pregnant.Sara Krulwich/The New York TimesBut those distortions at least make a good story. The bigger distortions — perhaps necessitated by the fact that Ray Stark, who produced the original, was Brice’s son-in-law — avoid one. Arnstein did not get involved in illegal activities because he hated being supported by Fanny; he was a crook and a jailbird who had been gladly sponging off her from the beginning. Yet Brice, knowing all that, still adored him, which makes a far more interesting tale than the bowdlerized one the show offers, of a duped woman finally and regretfully seeing the light.That Arnstein wasn’t remotely gorgeous, and Karimloo totally is, we can allow. Karimloo also sings beautifully and, to the extent the new book tries to beef up the role, he’s got the beef to do it.Unfortunately the effort is counterproductive. The song “Temporary Arrangement,” in which Nick expresses his mounting fury, has been retrieved from the Styne-Merrill trunk, where it was stashed after one performance in 1964 and should have remained; its intensity comes out of nowhere and rips at the show’s thin fabric. A bit later, Nick gets a version of the title song, which though shot for the 1968 film, starring Streisand and Omar Sharif, was cut for good cause.More happily, when Feldstein sings her own version of “Funny Girl” near the end of the show, it’s simple and touching — not overstretched like her merely loud renditions of the big three hits: “I’m the Greatest Star,” “People” and “Don’t Rain on My Parade.”Perhaps that’s because she’s finally just sitting down with no one else onstage. (Most of the musical staging, by Ellenore Scott, is hectic.) But if Fierstein’s stabs at strengthening the secondary characters pull focus from the central one, they do help the production in small ways. As Fanny’s mother, the naturally eccentric comic Jane Lynch brings us closest to the Brice spirit, suggesting in “Who Taught Her Everything She Knows?” that zany ambition is a heritable trait. And though Jared Grimes, as Fanny’s pal Eddie Ryan, is somewhat wasted in that song, he earlier makes a fine cameo of the production’s most notable dance, a stunning tap sequence choreographed by Ayodele Casel.Jared Grimes, center, with, foreground from left: Feldstein, Jane Lynch, Toni DiBuono, Amber Ardolino and Leslie Blake Walker.Sara Krulwich/The New York TimesThat the sequence has little to do with the story is not a deal-breaker; in “Funny Girl,” it may even be an advantage. Nor are Fierstein’s anachronisms and vulgar jokes about sex with chorines and men in trench coats catastrophic. This is not a unified work like Styne’s 1959 hit, “Gypsy,” arguably just as fictional in its portrait of the stripper Gypsy Rose Lee yet one of the indisputably great musicals. In that show, no song was allowed to serve less than double duty; everything pointed back to the plot. “Funny Girl” reaches for the same complexity but most often contents itself, except in its best songs, with mere entertainment.If the revival actually provided enough of that, it might prove irresistible. But Mayer’s staging, which at times seems to aim for the ghostly nostalgia of “Follies,” feels lumbering and underfunded, with cheap-looking sets (by David Zinn), a cast of 22 in place of the original 43 and wan new orchestrations for 14 players, based on the glorious originals by Ralph Burns for 25. (You’re going to sell me “People” with two violins?) Only the aptly gaudy costumes by Susan Hilferty suggest the Ziegfeldian overabundance that shows like “Funny Girl” were designed to purvey.This could all have been predicted; over the years, many revivals have been attempted and defeated because the thing a revival is trying to revive is not to be found in the property itself. It’s in the personality of the necessary star: someone not nice but inevitable, not diligent but explosive, not well-rounded but weird. They don’t grow them that way much, anymore, nor write new material for them. Paging Ms. Streisman!Funny GirlAt the August Wilson Theater, Manhattan; funnygirlonbroadway.com. Running time: 2 hours 50 minutes. More