By Harry Haun
15 Aug 2005

Lennon opted for an almost-never-done Broadway-opening slot—Sunday afternoon—and held its post-premiere party at Sardi's. The last time this particular combo was tried was believed to have been for 1976's Home Sweet Homer, in which Joan Diener and a terribly hirsute Yul Brynner starred. Its chief distinction was that it had wigmaker Paul Huntley's all-time favorite hairpiece, a complicated creation designed so Brynner could magically remove his wig and beard in one fell swoop. The show closed practically as fast.

Sunday's afternoon swelter was in full swing, but the stroll was mercifully short, directly across West 44th from the Broadhurst. Staid old Sardi's had a little surprise up its sleeve on the second floor—a radical renovation in which the bar was moved forward away from the wall and a window area was opened up, revealing a panoramic view of Shubert Alley and the theatres up and down West 44th. The spectacle screams Broadway—to tourists and theatre pros alike. Max Klinavicius, who runs the joint, took a modest bow from dreaming up the idea but declined to name the cost. "I'm still getting bills," he explained.

An interesting mix of the political and the musical, with telltale dashes of small-screen celebrity, decorated the new environs: Roberta Flack, Rev. Al Sharpton, a lookin' great Liza Minnelli with Sirius Radio's Jason Drew, Tom ("Ed") Cavanaugh, Grace Hightower, Thorsten ("All My Children") Kaye and Molly ("V.I.P.") Culver.

David Letterman's band man, Paul Shaffer, weighed in with considerable praise for the show. "I just thought it was phenomenal. It reminded me of what an influence John was—how strong an influence he was not only in popular music but in culture, and how much we miss him. He was a remarkable writer. He'd do catchy so you loved the song right away, then the second time you would hear more of it. Let's face it: the more you listen to his music, the more you hear. I'm still learning things when I hear his songs."

Shaffer threw kudos to the band John Miller hired for the occasion. "From the moment the musicians learned about this show," Miller said, "the best of them wanted in. John Lennon's music is so primal to all of them, and they sincerely wanted a chance to play it."

Geraldo Rivera, who's depicted in the show fleeting by a mustachioed female, approved of the portrayal and seemed to be smiling under his own, quite real mustache. "John was a friend for ten years or so, and I was very moved by the show." (Even teared up, 'tis said.)

Representing the Central Park West contingent of Lennon neighbors: Phyllis Newman and daughter Amanda Green. Both of them remember the Lennons from the 'hood. Green is writing lyrics for the musical with David Lindsay-Abaire, High Fidelity; Newman (or so she averred) is doing some "secret pornographic writing" in her room.

Ralph Nader, a friend of the Lennons since meeting them when the couple co-hosted "The Mike Douglas Show" (the episode after the one depicted in the show), was quite struck with the presentation. "You could watch it three times and see more every time," he opted. "It's quite pioneering, having all those actors play Lennon. That's hard to pull off."

Eartha Kitt was still aglow from her reception Friday at the Newport Jazz Festival. ("84,000 people just sitting there, listening to me. I was beautifully surprised. It was fantastic!") She drew raves for her recent gig at Cafe Carlyle and is currently in negotiations for another. "I'm hoping we can come to terrrrrrms," purred Eartha.

Almost every word in the show is Lennon's. The main exception was a moving monologue Scardino did for the show's close—for the cop who arrived at The Dakota two minutes after Lennon was shot. It's customary in such situations to ask a victim elemental questions to orient them, and, when he asked Lennon if he knew who he was, the answer was "Yeah." It was Lennon's last word and, fittingly, a positive one. The beat goes on.

The cast gives their opening night curtain call
photo by Aubrey Reuben

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