St. James Theatre, (4/10/2014 - 8/24/2014)

First Preview: Mar 11, 2014
Opening Date: Apr 10, 2014
Closing Date: Aug 24, 2014
Total Previews: 33
Total Performances: 156

Category: Musical, Comedy, Original, Broadway

Opening Night Production Staff

Theatre Owned / Operated by Jujamcyn Theaters (Jordan Roth: President; Rocco Landesman: President Emeritus; Paul Libin: Executive Vice President; Jack Viertel: Senior Vice President)

Produced by Letty Aronson, Julian Schlossberg, Edward Walson, LeRoy Schecter, Roy Furman, Broadway Across America, Just for Laughs Theatricals/Jacki Barlia Florin, Harold Newman and Jujamcyn Theaters (Jordan Roth: President; Rocco Landesman: President Emeritus; Paul Libin: Executive Vice President; Jack Viertel: Senior Vice President); Associate Producer: Don't Speak, LLC

Written by Woody Allen; Based on the Screenplay of the Film "Bullets Over Broadway" by Woody Allen and Douglas McGrath; Music orchestrated by Doug Besterman; Musical Director: Andy Einhorn; Vocal arrangements by Andy Einhorn; Additional lyrics by Glen Kelly

Directed by Susan Stroman; Choreographed by Susan Stroman; Associate Director: Jeff Whiting; Associate Choreographer: James Gray; Assistant Choreographer: Jeff Whiting

Scenic Design by Santo Loquasto; Costume Design by William Ivey Long; Lighting Design by Donald Holder; Sound Design by Peter Hylenski; Hair and Wig Design by Paul Huntley; Make-Up Design by Angelina Avallone; Associate Scenic Design: Jason Ardizzone-West and Jisun Kim; Associate Costume Design: Cathy Parrott; Associate Lighting Design: Carolyn Wong; Associate Sound Design: Tony Smolenski IV; Associate Hair and Wig Design: Giovanna Calabretta and Edward J. Wilson; Associate Make-Up Design: Robert Amodeo

General Manager: Richards / Climan, Inc.; Company Manager: Bruce Klinger

Production Manager: Aurora Productions; Production Stage Manager: Rolt Smith; Stage Manager: Stephen R. Gruse

Music adapted by Glen Kelly; Musical Supervisor: Glen Kelly; Musical Coordinator: Howard Joines; Conducted by Andy Einhorn; Associate Conductor: Greg Anthony Rassen; Piano/Keyboards: Greg Anthony Rassen and Mark Berman; Reeds: Chuck Wilson, Daniel Block, Deborah Avery and Roger Rosenberg; Trumpet (lead): Kenny Lavender ; Trumpets: Tanya Darby and Randy Reinhart; Trombones: John Allred, Harvey Tibbs and Joe Barati; French Horn: Adam Krauthamer; Bass: Mark Vanderpoel; Guitar/Banjo: Scott Kuney; Drums: Bruce Doctor; Percussion: Andrew Blanco; Violin: Antoine Silverman

Casting: Tara Rubin Casting; Press Representative: Boneau / Bryan-Brown; Advertising: Serino Coyne; Marketing: Serino Coyne; Interactive Marketing: Serino Coyne; Animal Trainer: William Berloni; Photographer: Paul Kolnik

[See More]

Opening Night Cast

Brooks AshmanskasWarner Purcell
Zach Braff
Broadway debut
David Shayne
Nick CorderoCheech
Marin MazzieHelen Sinclair
Vincent PastoreNick Valenti
Betsy WolfeEllen
Lenny WolpeJulian Marx
Heléne YorkeOlive Neal
Karen ZiembaEden Brent
Jim BorstelmannEnsemble
Janet DickinsonEnsemble
Hilda Marx
Kim FauréEnsemble
Paige FaureAtta Girl
Casey GarvinEnsemble
Kelcy GriffinAtta Girl
Sarah Lin JohnsonAtta Girl
Andy JonesEnsemble
Amanda Kloots-LarsenAtta Girl
Kevin LigonEnsemble
Train Conductor
Brittany MarcinEnsemble
Atta Girl
Paul McGillEnsemble
James MoyeEnsemble
Sheldon Flender
Beth Johnson NicelyEnsemble
Atta Girl
Eric SantagataEnsemble
Mitchell Sabine
TrixieMr. Woofles
Kevin WorleyEnsemble

Swings: Preston Truman Boyd, Bryn Dowling, Dan Horn and Synthia Link

Understudies: Jim Borstelmann (Nick Valenti, Warner Purcell), Preston Truman Boyd (Cheech, Julian Marx, Warner Purcell), Janet Dickinson (Eden Brent, Helen Sinclair), Bryn Dowling (Helen Sinclair, Olive Neal), Kim Fauré (Ellen, Olive Neal), Paige Faure (Ellen), Andy Jones (David Shayne), Kevin Ligon (Julian Marx, Nick Valenti, Warner Purcell), Synthia Link (Eden Brent, Ellen), James Moye (Cheech), Rocco (Mr. Woofles) and Kevin Worley (David Shayne)

Awards and Nominations

Tony Award®

 2014 Best Book of a Musical [nominee] 

Book by Woody Allen

 2014 Best Performance by an Actor in a Featured Role in a Musical [nominee] 

Nick Cordero

 2014 Best Choreography [nominee] 

Susan Stroman

 2014 Best Orchestrations [nominee] 

Doug Besterman

 2014 Best Scenic Design of a Musical [nominee] 

Santo Loquasto

 2014 Best Costume Design of a Musical [nominee] 

William Ivey Long

Drama Desk Award

 2014 Outstanding Featured Actor in a Musical [nominee] 

Nick Cordero

 2014 Outstanding Choreography [nominee] 

Susan Stroman

 2014 Outstanding Sound Design in a Musical [nominee] 

Sound Design by Peter Hylenski

winner 2014 Outstanding Costume Design [winner] 

William Ivey Long

 2014 Outstanding Set Design [nominee] 

Santo Loquasto

 2014 Outstanding Director of a Musical [nominee] 

Susan Stroman

Theatre World

winner 2014 Award [recipient] 

Nick Cordero


ACT 1 Sung By
Tiger Rag
(music by Harry DeCosta, Edwin Edwards, James D. LaRocca, W.H. Ragas, Anthony Sbarbaro and Larry Shields; lyrics by Harry DeCosta, Edwin Edwards, James D. LaRocca, W.H. Ragas, Anthony Sbarbaro and Larry Shields )
The Atta-Girls, Olive, Nick, Cheech and Gangsters
Gee Baby, Ain't I Good to You
(music by Andy Razaf and Don Redman; lyrics by Andy Razaf and Don Redman )
Nick and Olive
Blues My Naughty Sweetie Gives to Me
(music by Charles McCarron, Carey Morgan and Arthur Swanstone; lyrics by Charles McCarron, Carey Morgan, Arthur Swanstone and Glen Kelly )
Ellen and David
Tain't a Fit Night Out for Man or Beast
(music by Sammy Cahn and Saul Chaplin; lyrics by Sammy Cahn and Saul Chaplin )
Valenti Gang, Kustabeck Gang and Flappers
I Want a Hot Dog for My Roll
(music by Tausha Hammed and Clarence Williams; lyrics by Tausha Hammed and Clarence Williams )
Gee Baby, Ain't I Good to You (Reprise)
(music by Andy Razaf and Don Redman; lyrics by Andy Razaf and Don Redman )
They Go Wild, Simply Wild, Over Me
(music by Fred Fisher and Joseph McCarthy; lyrics by Fred Fisher, Joseph McCarthy and Glen Kelly )
Helen and Julian
Up a Lazy River
(music by Sidney Arodin and Hoagy Carmichael; lyrics by Sidney Arodin and Hoagy Carmichael )
I'm Sitting on Top of the World
(music by Ray Henderson; lyrics by Sam M. Lewis and Joe Young )
Let's Misbehave
(music by Cole Porter; lyrics by Cole Porter )
Warner and Olive
There's a Broken Heart for Every Light on Broadway
(music by Fred Fisher; lyrics by Howard Johnson and Glen Kelly )
Helen and David
(I'll Be Glad When You're Dead) You Rascal You
(music by Sam Theard; lyrics by Sam Theard )
The Atta-Girls
Tain't Nobody's Biz-ness If I do
(music by Porter Grainger and Everett Robbins; lyrics by Porter Grainger, Everett Robbins and Glen Kelly )
Cheech and Gangsters
Runnin' Wild
(music by A. Harrington Gibbs, Joe Grey and Leo Wood; lyrics by A. Harrington Gibbs, Joe Grey and Leo Wood )
Full Company
ACT 2 Sung By
There's a New Day Comin'!
(music by Milton Ager and Joe Young; lyrics by Milton Ager and Joe Young )
Eden and Company
There'll Be Some Changes Made
(music by W. Benton Overstreet; lyrics by Billy Higgins and Glen Kelly )
Cheech, Warner and Gangsters
I Ain't Gonna Play No Second Fiddle
(music by Perry Bradford; lyrics by Perry Bradford )
Helen and David
Good Old New York
(music by Roy Carew and Ferdinand "Jelly Roll" Morton; lyrics by Roy Carew and Ferdinand "Jelly Roll" Morton )
The Red Caps
Up a Lazy River (Reprise)
(music by Sidney Arodin and Hoagy Carmichael; lyrics by Sidney Arodin and Hoagy Carmichael )
I've Found a New Baby
(music by Jack Palmer and Spencer Williams; lyrics by Jack Palmer and Spencer Williams )
Ellen and David
The Panic Is On
(music by Burt Clarke, George Clarke and Winston Tharp; lyrics by Burt Clarke, George Clarke and Winston Tharp )
Tain't Nobody's Biz-ness If I do (Reprise)
(music by Porter Grainger and Everett Robbins; lyrics by Porter Grainger, Everett Robbins and Glen Kelly )
Runnin' Wild (Reprise)
(music by A. Harrington Gibbs, Joe Grey and Leo Wood; lyrics by A. Harrington Gibbs, Joe Grey and Leo Wood )
Up a Lazy River (Reprise)
(music by Sidney Arodin and Hoagy Carmichael; lyrics by Sidney Arodin and Hoagy Carmichael )
She's Funny That Way
(music by Neil Moret and Richard Whiting; lyrics by Neil Moret and Richard Whiting )
David and Ellen


AP: "A Glorious 'Bullets Over Broadway' Kills"

The new musical "Bullets Over Broadway" begins with a Mafia goon firing a machine gun into the theater curtain, spelling out the title of the show. He's also symbolically spelling out the glorious return of Susan Stroman.

The bullets are a staccato punctuation that the award-winning director and choreographer is back to her winning ways after a few stumbles, including this season's uneven "Big Fish."

But at the helm of this thrilling Woody Allen 1994 film adaptation, Stroman has created musical theater bliss, fittingly at the St. James Theatre, the venue where her last megahit, "The Producers," was staged.

"Bullets Over Broadway" opened Thursday and has to have become a Tony Award favorite.

Everything works here: The dances are inspired, the costumes rock, the sets are sharp and the use of slightly tweaked existing classic jazz and blues standards as the soundtrack is inspired. Even the casting, which initially seemed odd, ends up pretty spot-on, with a mixture of newbies and veterans.

The show has had a low-profile arrival for such a busy time, in part no doubt due to allegations of sexual abuse against Allen revived in February by his estranged daughter, Dylan Farrow, and denied by him.

Only two songs from the "Bullets" film soundtrack made the cut, Cole Porter's "Let's Misbehave" and a lesser-known Hoagy Carmichael tune, "Up a Lazy River." The ones added to the musical immediately jump out as songs you'd like to listen to again, even if it's the first time hearing "The Panic Is On," "I Ain't Gonna Play No Second Fiddle" and "Runnin' Wild."

"Scrubs" star Zach Braff makes his Broadway debut as the nebbishy playwright at the end of the Roaring Twenties who agrees to cast a mobster's gal to get his play financed. The mobster is played by none other than Vincent Pastore, who as a veteran of "The Sopranos" knows his way around a hit. The gal is wonderfully played by Helene Yorke, who seems to have channeled Cyndi Lauper, complete with platinum bob and honking Queens accent.

The playwright - Braff mugs and jokes like a natural - easily falls for his grandiose leading lady, and it's easy to see why: She's played deliciously by Marin Mazzie, an overwrought and aging diva with an agenda. Betsy Wolfe makes the most of her role as the playwright's girlfriend, especially in her sexy duet "I've Found a New Baby."

Nick Cordero is an impressive mob soldier, one who has a flare for the dramatic. Brooks Ashmanskas is simply hysterical as a leading man prone to overeat. Karen Ziemba is the cheerful heart in the story, and Lenny Wolpe is its gentle peacemaker. Even the dog playing Mister Woofles is impressive.

Part of the joy of this show is musical adapter Glen Kelly's tweaking the lyrics to fit the scene and having some songs get reprises sung by the same or a different character, giving them a whole new feel. Hence the playwright sings "I'm Sitting on Top of the World" with glee at the first day of play rehearsal only to have him return to it regularly as a funeral dirge as his hopes get slowly deflated.

But it's Stroman's vision that will keep this cute, brashy ode to Broadway on Broadway for long to come. She has staged a truly deliciously vulgar scene sung to "The Hot Dog Song" that, let's put it bluntly, will not be making the Tony telecast.

She has teamed up with Santo Loquasto's ambitious and lovely set designs to put a snazzy looking real car onstage and yet also make a train out of dancers dressed as red caps in white gloves. When she has mobsters in three-piece suits tap dance to "'Tain't Nobody's Biz-ness If I Do," their masculine movements are a joy. When the play-within-the-musical is staged, the proscenium has real dancers posing like carved statues. It's all been so well thought out and executed, right down to its bouncy chairs and rotating houses. Stroman has the right to sing, as the title of one song goes "Gee Baby, Ain't I Good to You."

When the critical reviews of the fictional play come out at the end of the show, the consensus must be the same about this fun, beautiful musical: "A work of art of the highest caliber."


New York Daily News: "Bullets Over Broadway"

Showgirls dressed like frisky tigers shake their moneymakers near the beginning of Woody Allen’s “Bullets Over Broadway” — and they’re a symbol, for this musical certainly works its tail off to tickle and delight.

It’s too bad that the comedy about a playwriting hit man is a bit of a miss. On the plus side, director and choreographer Susan Stroman’s dance numbers pack sure-footed pizzazz. And the good-looking production depicts 1929 New York with wit and grace notes. A theater proscenium decorated with living angels is a lovely little touch.

But working in tandem with Allen, who recycled the screenplay of his Oscar-winning 1994 comedy while dealing with anything-but-amusing personal issues, Stroman doesn’t match the zany, out-of-this-world wow factor of her collaboration with Mel Brooks on “The Producers” — though a tip of the hat goes to the tastelessly delicious dancing-hot-dog number.

Allen’s showbiz and gangland eccentrics stiffen into cardboard when they’re amplified from two to three dimensions. A sense of nuance and humanity goes missing. It doesn’t help that key actors shoot blanks, including Zach Braff, of “Scrubs” fame, and Helene Yorke, of “Masters of Sex.” Both need infusions of charm for their roles as a morally iffy writer and the tootsie ruining his play.

Beyond mediocre acting is the poor choice at the center of this jukebox musical: Instead of coming up with new tunes, Allen shoehorned period songs — hits like “I’m Sitting on Top of the World” and “Let’s Misbehave,” plus lesser-known novelties like “I Ain’t Gonna Play No Second Fiddle” — into the existing plot. But all this does is throw the show into neutral whenever the orchestra swells. Even well-performed, the oldies simply underline what’s going on.

The script is faithful to the film, but a tad raunchier. It summons and tweaks the old theater adage: You can’t make a living on Broadway, but you can make a killing.

David Shayne (Braff) gets his play produced — but it’s a Faustian bargain to get money from a gangster backer: He must cast the mobster’s moll, Olive (Yorke), in the show. David’s woes deepen when he falls for boozy stage diva Helen Sinclair (Marin Mazzie) and gets upstaged — as a writer! — by Cheech (Nick Cordero), a mob enforcer who's good at both dramaturgy and homicide.

Mazzie does not eclipse Dianne Wiest’s big screen portrayal of Helen, but she’s gutsy, goofy and glamorous as the needy neurotic. Cordero lends loads of presence and charisma as the criminally talented thug. The show’s zenith comes when he and nimble goons rat-a-tap-tap their way through a rollicking “T’ain’t Nobody’s Biz-ness If I Do.”

For all the singing about sitting on top of the world, “Bullets Over Broadway” doesn’t take you to such heights — but to the Equator, or the middle of the road.

New York Daily News

Replacement/Transfer Info

The following people are credited as replacements or additions if they were not credited on opening night.

St. James Theatre

(4/10/2014 - 8/24/2014)
Company Manager: Katrina Elliott.

Assistant Stage Mgr: Tamlyn Freund.


Clyde Alves
Bryn Dowling
Atta Girl

Swings: Jonalyn Saxer.

View full site