Far From Heaven
Music by Scott Frankel
Lyrics by Michael Korie
Based on the Focus Features/Vulcan Productions motion picture written & directed by Todd Haynes
Choreography by Alex Sanchez
Directed by Michael Greif
Cathy Whitaker seems to be the picture-perfect wife and mother in 1957 suburban Connecticut. But roiling beneath the surface, secret longings and forbidden desires cause her world to unravel, with incendiary consequences. With a lush score that is both jazz-inflected and hauntingly lyrical, Far From Heaven is a powerful story of romance, betrayal, and intolerance, as a woman grapples with her identity in a society on the verge of upheaval.
J.B. Adams - Morris Farnsworth etc.
Marinda Anderson - Esther etc
Nancy Anderson - Eleanor
Elainey Bass - Sarah
Quincy Tyler Bernstine - Sybil
Justin Scott Brown - Chase etc.
Alma Cuervo - Mona Lauder etc.
Korey Jackson - Gus etc.
Isaiah Johnson - Raymond
Jake Lucas - David
James Moye - Stan etc.
Kelli O'Hara - Cathy
Steven Pasquale - Frank
Julianna Rigoglioso - Janice
Sarah Jane Shanks - Doreen/Connie etc
Tess Soltau - Nancy etc.
Mary Stout - Mrs. Leacock etc.
Victor Wallace - Dick etc.
Scenic Designer Allen Moyer
Costume Designer Catherine Zuber
Lighting Designer Kenneth Posner
Sound Designer Nevin Steinberg
Production Stage Manager Judith Schoenfeld
Projection Design Peter Nigrini
Wig & Hair Design David Brian Brown
Orchestrations Bruce Coughlin
Music Director Lawrence Yurman
Music Coordinator John Miller
Far From Heaven was commissioned, developed, and produced through the Playwrights Horizons Musicals in Partnership Initiative, with leadership support from The Andrew W. Mellon Foundation.
Generous support was provided by The Laurents / Hatcher Foundation, the Stacey & Eric Mindich Fund for New Musicals at Playwrights Horizons, and Joanne & Daniel C. Smith.
Additional support provided by the National Fund for New Musicals, a program of National Alliance for Musical Theatre, Cathy & Stephen Weinroth and other generous contributors.
Playwrights Horizons’ 2012/2013 season productions are generously supported by the Harold and Mimi Steinberg Charitable Trust and the New York City Department of Cultural Affairs.
Photos by Zack DeZon.
Note: Understudies may substitute for listed players. An announcement will be made prior to the performance, if any casting substitutions will occur.
Kelli O'Hara is one of the best performers in musicals today. The sense of hope that pulses in her voice breaks your heart.—Ben Brantley, New York Times
A smart, sophisticated, perfect vehicle for Kelli O'Hara's soaring voice and endearing stage presence, with an elegant diversity of music by Scott Frankel. Michael Korie's thoughtful lyrics sensitively express turbulent inner emotions. Richard Greenberg’s book accurately depicts the artificial tenor of the times. Michael Greif and his design team have created a fluid, visually compelling production, enhanced by Catherine Zuber's gorgeous costumes.—Jennifer Farrar, AP |Read Full Article
Both Steven Pasquale and Isaiah Johnson have Broadway-big talents that are thrilling to watch.—Adam Markovitz, Entertainment Weekly
Heaven-sent. A gorgeously lush and evocative score. Scott Frankel and Michael Korie easily top their Tony-nominated work from Grey Gardens. Their songs are given the deluxe treatment from Playwrights Horizons.—Elisabeth Vincentelli, NY Post
A haunting, uncommonly serious contemporary musical. The ravishingly beautifu score evokes Leonard Bernstein. Michael Greif's direction of the actors is faultless.—David Rooney, Hollywood Reporter
A rare commodity: a rich, operatic, tightly integrated post-Sondheim score. There hasn’t been a score like this since The Light in the Piazza.—Matt Windman, AM/NY
Kelli O'Hara, Steven Pasquale, Isaiah Johnson, and the rest of the original cast recording the album for FAR FROM HEAVEN at Avatar Studios, NYC.
Give two cast members from FAR FROM HEAVEN a video camera, and this is what you get.
An exclusive look at scenes from the Playwrights Horizons production of FAR FROM HEAVEN, featuring original music by Scott Frankel, lyrics by Michael Korie.
FAR FROM HEAVEN cast members Elainey Bass, Jake Lucas, and Julianna Rigoglioso show us how they pass the time backstage.
Tim: When I went to the closing night of Grey Gardens on Broadway, I ran into you, Rich, near the lobby. You seemed kind of excited, for you, albeit slightly abashed to have waited until the last night. When Scott told me years later that he was working with you, it tickled me to think that maybe I’d witnessed the seed of this collaboration planted. RG: I really liked Grey Gardens, and it wasn’t long after that Scott suggested we work together.
An interview with lyricist Michael Korie and composer Scott Frankel, in which they discuss writing FAR FROM HEAVEN, working with Kelli O'Hara, and their experiences working Off-Broadway at PH.
The composer and lyricist of the musical FAR FROM HEAVEN discuss the genesis of the piece, their fruitful collaboration with Kelli O'Hara, and how PH has become their artistic home. Featuring music from the production.
FAR FROM HEAVEN's Raymond, Isaiah Johnson, recounts his experience growing up military, working with Al Pacino in THE MERCHANT OF VENICE, and discusses the benefits of originating a role in a major new musical at Playwrights Horizons. Featuring original music by Scott Frankel, lyrics by Michael Korie. Produced by 2012/13 season Marketing Resident Katie Stoppiello.
Why Far From Heaven? Michael Korie: In New York, it’s always the right time for a musical about repressed homosexuality, spousal abuse, and racial politics. Now is particularly the right time because in a stealthy way it’s about today. My goal is to create musicals about the America we live in but without making it obvious. The audience at first believes it’s seeing a period piece. Then the realization creeps up, ‘Oh, this all still happens!’
The guidelines of our literary department state that we do not accept dramatic adaptations from other sources, except for musicals. As a writer’s theater, we often find the authorial voice becomes commingled or overshadowed by the originating writer in straight adaptations. But the form of the musical theater is essentially synthetic (made, not observed) and depends on the collaborative synergy of its creators to come into being. The best musicals find their originality and their voice through transformation. It usually behooves the creators to steer clear of widely known or beloved novels or films where an audience might have firmly held preconceptions about the source. Musicals based on somewhat more obscure sources usually provide the creators more artistic leeway.
There seems to be a modern complaint about musicals today that you can’t throw a stone down Broadway without hitting a marquee for a show adapted from a recent hit film. As often as not, these productions are seen as a quick fix for the instant marketing and branding of commercial enterprises rather than original shows. However, adaptation in musicals is nothing new, and people have been turning to other sources for a very long time. What’s often overlooked is that the process of adaptation, at its best, finds ways to expand the form of the musical and deepen the manner in which these stories explore our essential humanity.
“It was a simpler time” rings the mantra of the Greatest Generation when reflecting upon the American 1950s. Enshrined in our memories by iconic shows like “Leave it to Beaver” and “I Love Lucy,” the 1950s housewife has assumed an almost mythical presence in our cultural consciousness, lamenting an easier time of economic prosperity when neighbors greeted one another in their driveways, kids played stickball in the streets till dusk and the idyllic June Cleaver eagerly awaited her husband’s return from work with a plate of piping hot dinner in her carefully manicured hand.