When the scribes write the ultimate history of Broadway, one thing will become crystal clear: Michael Urie was destined to play Bud Frump.
“When I was 16, my sister and I went to the Dallas Summer Musicals production of How to Succeed in Business Without Really Trying,” says the effervescent 37-year-old during a break from rehearsal. “It was the national tour that starred Ralph Macchio as Finch and Roger Bart as Frump. It was seminal for me. It totally changed the way I looked at theater. I loved it more than anything. I thought, ‘This is a musical I could be in!'”
Urie almost got his chance at Frump — the nemesis to window washer-turned-corporate exec J. Pierrepont Finch — in the 2011 Broadway revival starring Daniel Radcliffe. “They hired me. And then, through a series of very sad circumstances which I won’t go into, I ended up not getting to keep the job. It was like a showbiz tragedy.” Christopher Hankey took on the role, but Urie finally got his chance in 2012, replacing Hankey at the same time Nick Jonas stepped in as Finch.
“I can’t ever remember being that purely happy doing a job,” he glows. “There have been other jobs that have meant more to me or been more challenging, but doing this show is just like a big bowl of ice cream!”
Urie is feasting on another helping of that ice cream, as the hit-packed, Pulitzer Prize-winning Frank Loesser musical plays this weekend as part of the Kennedy Center’s Broadway Center Stage, a magnificent new series that has already mounted electrifying semi-staged concerts of Chess and In the Heights. Directed by Marc Bruni, How to Succeed features Urie as Frump, Betsy Wolfe as Rosemary Pilkington, Nova Payton as Miss Jones, John Michael Higgins as Biggley, and Pitch Perfect‘s Skylar Astin as Finch.
“He’s got such great energy,” Urie, last seen here at the Shakespeare Theatre in a powerful take on Hamlet, says of Astin. “He sings so well and he’s got great comic sensibility and is filled with ideas. He’s perfect for the role.”
In addition to his quick stint in How to Succeed, Urie is busy prepping for the Broadway revival of Harvey Fierstein’s Torch Song Trilogy, part of a sudden resurgence of seminal LGBTQ plays on Broadway that includes Boys in the Band, starring Jim Parsons, Zachary Quinto, and Matt Bomer, and Angels in America, starring Andrew Garfield and Nathan Lane.
“It seems to be something in the ethos,” he says of the perfectly-timed trio. “I feel in some ways it’s a victory lap for the LGBTQ community. But it may be a call to arms for the rights that are being stripped away by the current Administration — a reminder of what we could lose. That could be it.” He pauses. “I think it could also be coincidence.”
Broadway Center Stage: How to Succeed in Business Without Really Trying runs through Sunday, June 10 in the Kennedy Center Eisenhower Theater. Tickets are $59-$175. Call 202-467-4600 or visit kennedy-center.org.
A play of epic proportions, Tom Stoppard’s Leopoldstadt has almost equally epic challenges and, like a suit that doesn’t quite fit, it feels just a little too big for the Shakespeare Theatre Company’s production.
Immense in scope, Stoppard’s semi-autobiographical journey weaves its way from 1899 through 1955 as multiple generations of a wealthy Jewish family in Vienna experience war and antisemitism in ways that will forever change their lives and identities.
Heavy on the expository and vignette-driven, family gatherings share space with spirited conversations about Zionism, the creation of a Jewish homeland, and the growing “othering” of Viennese Jews as time passes through Germany’s annexation of Austria, two world wars, and a final post-war-Vienna pause.
The holidays can be overwhelming, and that goes for all the ways you can celebrate the holidays, too. So we thought we'd help out by culling through the festivities to select a few of the very best. We'll do it again next week with a whole new crop of outings to consider for getting your holly jollies on.
THE HOLIDAY SHOW -- The Gay Men's Chorus of Washington is sure to touch and titillate you with this year's 44th annual year-end extravaganza, a program designed to celebrate the holidays around the world through a mix of eclectic songs enhanced by arrangements accentuating the beautiful melodies and harmonies as performed by the full chorus of more than a hundred, by one of the organization's smaller, select ensembles, or by a few standout soloists. Among the most inspiring of the GMCW's smaller ensembles set to perform is the GenOUT Youth Chorus, a group of budding singers from around the region. Sure to give a rousing, high-kicking performance is another GMCW ensemble, the 17th Street Dance Troupe. Even jolly ol' Santa will drop by to liven the mood, especially for those who've been more nice than naughty. Saturday, Dec. 7, and Dec. 14, at 3 and 8 p.m., and Sunday, Dec. 15, at 5 p.m. Lincoln Theatre, 1215 U St. NW. Tickets are $25 to $75. Call 202-293-1548 or visit www.gmcw.org.
Imaginative and powerfully delivered, the Washington National Opera's Macbeth is the opera to drop everything and see. Verdi's gorgeously dramatic distillation of Shakespeare's tragedy is already ever-so-accessible, the dark and swooping grandeur of his score the perfect medium for the tale's high drama and mystery.
Add director Brenna Corner's elegantly innovative vision and this is classical opera for the 21st century at its best: so good it needs no compromises. If you have even the slightest interest in seeing the real deal, this is the one for you. If you are already in, this will be a treasure trove of pleasures.
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