| Celia, Kelli, Wayne, Matthew, Sarah and Kelli (long) | |
| Last Edit: DanielVincent 07:57 pm EST 02/07/21 | |
| Posted by: DanielVincent 07:56 pm EST 02/07/21 | |
| In reply to: Why was Celia Keenan-Bolger let go? - mikem 03:40 pm EST 02/07/21 | |
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| Celia discusses her dismissal in her episode of the Hollywood Reporter's podcast "Awards Chatter." It was taped and released during the season she was nominated (and ultimately won) the Tony for To Kill a Mockingbird, so it's been a while since I've listened to it and I don't recall many details. However, I do remember thinking it was the most I'd ever heard her talk about it, including the awkwardness of having to re-audition when Lincoln Center picked it up. I believe she made some comment to the effect of, "I can't sing like Kelli does," but I don't think she honed in on that as the reason she was let go. I saw Celia in Chicago, and then, on Broadway, Kelli (twice) and Katie Rose Clarke (whom I didn't feel was up to the part). Although Celia had all of the notes, the size and facility of Kelli's soprano showcased the score far more powerfully. From a narrative standpoint, the show also made more sense with Kelli because she clearly read as an adult woman. With Celia, it was unclear if Clara was a child, teenager, or adult, which confused the romance between her and Fabrizio. Although you didn't ask about it, it's worth commenting on a couple other members of the Chicago cast. Wayne Wilcox has never quite gotten his due in New York, but he was a wonderful Fabrizio. He did not have had all the star quality that Matthew Morrison had, but he sang it more powerfully and was more believably Italian. Kelli was DYNAMITE as Franca and stole every scene she was in. Admittedly, I did not see her recent revival of Kiss Me Kate or Nice Work If You Can Get It. However, in all the other productions in which I've seen her, I've never seen her have the chance to play fiery and brash the way she did as Franca and it's a damn shame because she NAILED it. She was probably funnier than Sarah Uriarte Berry was on Broadway, but Sarah was probably more touching. Because her Franca initially read as more subdued, easily reminding me that this was the woman I saw as Julie Jordan and Belle in the 1990s, when the lyrics turned dark in The Joy You Feel, it was more surprising. In general, Kelli's Franca seemed angrier over the way her life with Giuseppe has turned out while Sarah seemed sadder. Two wonderful takes--I can't say which I preferred--whereas I can definitely say that Kelli's Clara was superior to Celia's. Matthew's charisma probably packed more of a punch than Wayne's technical proficiency. When he joined the Broadway cast as a replacement, Aaron Lazar, my favorite Fabrizio, delivered both. |
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