Broadway dilemma: TV or not TV?

Will small-screen stars get Broadway's vote?

By GORDON COX

You may not know what a Danity Kane is, or where on the map to find O-Town. But Broadway is starting to find out.

As pop stars spawned by reality TV appear on Broadway with increasing frequency, producers are finding that some demos -- particularly teenage females -- can be tapped by performers largely unheard of by the wider public.

Some legiters sneer that casting from the reality pool is the latest example of the industry's growing commercialism. And, they lament, things are getting even more crass as Broadway producers follow the West End's lead by creating their own shows to search for stars.

And there's another minor consideration: Yes, many reality alums have proven they can sing. But can they act?

Still, there are often box office benefits -- and in these times of economic crunch, every little bit helps.

Take Aubrey O'Day, a member of Danity Kane, the musical group created by Sean "P. Diddy" Combs on MTV reality skein "Making the Band." She's currently appearing in "Hairspray" alongside Ashley Parker Angel, an alum of a previous "Making the Band" group, O-Town (not to mention a separate reality series about his life and times, "There & Back: Ashley Parker Angel").

Diana DeGarmo, a 2004 finalist of "American Idol," is gearing up to star in the upcoming revival of "Godspell," opening in October, following two successful stints in "Hairspray."

There's also Bailey Hanks, the winner of MTV's "Legally Blonde The Musical: The Search for Elle Woods," newly ensconced in her lead role in "Blonde." The year-old revival of "Grease," with the addition of 2006 "American Idol" winner Taylor Hicks, already has cycled through the two top contestants of its own NBC show and replaced them with runners-up.

Only rarely does such pop-star casting hit a major demographic sweet spot. When 2004 "American Idol" winner Fantasia Barrino stepped into "The Color Purple" in 2007, the overlap of Fantasia fans with the black auds who flocked to "Purple" pushed sales into the stratosphere.

On the other hand, DeGarmo spurred a more modest but still noticeable bump in grosses for "Hairspray" during her stints in the show, the first of which began in 2006.

"People might underestimate the value of these folks, but they have a core audience," says Adam Epstein, the lead producer of "Godspell" who is also a producer on "Hairspray." "Even if they bring in a 10% increase in business, that's still 10%."

To naysayers of the TV trend, supporters respond there's bound to be new talent to be found in skeins that focus on live performance.

"Any of these reality things is a plus for me because it's another way to see people I never would have seen, especially when I'm casting 20-year-olds," says casting director Bernard Telsey, whose company handles "Blonde" and "Hairspray" (and who appeared as one of the judges in "Search for Elle Woods").

"Elle Woods" and NBC's "Grease: You're the One That I Want" followed in the footsteps of Brit TV, which has aired a series of casting competitions including "How Do You Solve a Problem Like Maria?" (for a revival of "The Sound of Music"), "Any Dream Will Do" (for "Joseph and the Amazing Technicolor Dreamcoat") and "I'd Do Anything" (for "Oliver!").

Largely panned by critics, "Grease" has nonetheless consistently logged solid sales figures thanks in part to the profile boost from the reality series.

And "Blonde" box office has grown real momentum in the wake of the MTV show that aired its finale July 21. In recent weeks, the production has played to audiences of around 95% capacity, grossing about $850,000 in sales.

According to Howard T. Owens, managing director of "Elle Woods" production company Reveille, the series marketed the tuner to a new set of eyes. "The TV show was being targeted to kids who weren't already going to Broadway. There was very little overlap in demographics," he says.

Thesps who move from reality to the Rialto say their TV past is a hurdle to overcome when they arrive on the boards.

"If you come from a reality setting, there's a certain stigma there," says Angel, who ends an 18-month stint in "Hairspray" next month. "But now I'm looking at the future, and Broadway was a great move because it's so credible."

DeGarmo agrees her stage work has helped broaden her career.

"I was able to say I'm more than just a reality show person," she says.