Pat Cerasaro - Page 188

While many MIZ-heads may have assumed the film adaptation of their beloved musical would never actually come to fruition, here it really is, all too soon available for all to see - lo, more than twenty years after it was first announced byway of an official promo ad in a tour souvenir going as far back as the late-1980s. I was lucky enough to catch an advance screening during the dawning days of December and many small moments, full musical sequences and my first impressions themselves have filled me with a certain kind of inexpressible enrapturing ecstasy heretofore inexperienced, coming as a direct result, no doubt, of the sheer force of power the film exacts in its relentless, barreling, blazingly bravado-bedecked style - a style, I can firmly say, is completely unique in movie history. LES MISERABLES is a lot of things, but, first and foremost, it is that which it is unlike that makes it most remarkable of all; that is: it is unlike any movie musical ever made. And, it is a masterpiece.

Today we are talking to a tremendously talented triple-threat star all about her many recent and upcoming endeavors, including the forthcoming feature films ADDICTED, 1982 and THE LAST LETTER, as well as the pilot for a new TV series, GUILTY, and, of course, her debut solo album project - the magnetic and beautiful Sharon Leal. In addition to discussing many aspects of her films to date and her starry assortment of co-stars and collaborators on them - Jennifer Hudson, Bill Condon, Bernie Mac, Samuel L. Jackson, Pam Grier, Chris Brown, McG and Cuba Gooding, Jr. included - Leal and I also discuss her theatrically-attuned work thus far in her career, having appeared on Broadway in RENT, as well as in starring in BRIGHT LIGHTS, BIG CITY, regional work and in a prominent featured role as part of the big screen film adaptation of DREAMGIRLS. Plus, Leal recounts her fruitful artistic and romantic relationship with recent fellow InDepth InterView participant, choreographer/director Paul Becker, and also outlines her plans for the future, near and far, as she anticipates continuing work on her solo album project and promoting her many current projects while taking a temporary holiday break - all of that and much, much more awaits!

Today we are featuring the second of two world exclusive song premieres from the brand new holiday music collection A VERY BROADWAY CHRISTMAS with GLEE star and Broadway notable Matthew Morrison lending his golden vocal tone and emotive delivery to the original John Glaudini/David Green song "Thankful". 'Tis the season, after all!

Today we are kicking off the first of two world exclusive song premieres from the brand new holiday music collection A VERY BROADWAY CHRISTMAS with original BEAUTY & THE BEAST star Susan Egan's hilarious and endearing take on a particularly theatrical holiday tune coming from the pens of RAGTIME composer/lyricist combination of Lynn Ahrens and Stephen Flaherty, "Christmas Cliches".

Today we are talking to a versatile performer first known to the world at large through her iconic early-career movie theme recordings - singing the Oscar-winning 'The Morning After' from THE POSEIDON ADVENTURE, as well as the classic themes from THE TOWERING INFERNO, SUPERMAN and musical material and a memorable musical moment in AIRPLANE!; in addition to her many full-length studio albums later in life - who then emerged as a compelling theatrical performer with a string of roles on Broadway, Off Broadway and in regional theater - a replacement star of NINE, as well as THE PIRATES OF PENZANCE, as well as original cast member of 1989's THE 3 PENNY OPERA, 1984's premire production of BROWNSTONE, and, most recently, a Broadway featured cast member in LITTLE WOMEN - the radiant and vocally resplendent Maureen McGovern. Looking back on her remarkable career and taking us on the journey from Hollywood to Broadway and beyond, McGovern reflects on some famous co-stars and her side of the riveting productions she participated in both onstage and onscreen, as well as opens up about some of her favorite recordings and composers to date insofar as her recording career is concerned, to say nothing of her proud position as the so-deemed self-confessed 'Disaster Theme Queen'. We also outline her cabaret work over the years, in anticipation of McGovern's week of shows at 54 Below, titled HOME FOR THE HOLIDAYS, beginning December 18 and running through December 23, where she will be sharing some of her favorite seasonal songs, new and old, as well as reviving some of her show-stopping standards and iconic movie themes and perhaps a surprise or two, too. Additionally, we touch upon her bio-musical, CARRY IT ON, her new women writer retrospective concert show and much, much more!

Liberally utilizing tried and true heartstring-tugging tropes masterfully displayed in holiday entities as diverse as LOVE, ACTUALLY, IT'S A WONDERFUL LIFE, A CHRISTMAS CAROL, HOLIDAY INN and even showing some Chanukah action sure to set virtually anybody's menorah fully alight thanks to the Puckerman brothers, GLEE's Christmas episode - this year, aptly titled 'Love, Actually' and written by Matthew Hodgson and directed by HAIRSPRAY and ROCK OF AGES movie musical helmer and a recent participant in this very column, Adam Shankman (available here) - was all in all a quite quintessential quintet of seasonal joy, cheer, and, well, glee, broaching the quoin of many and any a viewer's heart valves in so pleasingly enacting its ample entertainment value over the course of the episode's five featured segments within the winning framework. While the split-location structure of the series as dictated by the new style of GLEE 4.0 is assuredly more pronounced than would be the case had the proposed NYC-set spin-off gotten the greenlight by FOX, the cast and creators are making it all work and it is more seamless as it goes on - and the addictive, giddy, all-consuming glee of it all that drew us all in in the first season is still there to relish by Santa's sleigh-ful.

Today we are talking to a Tony Award-winning Broadway and Hollywood notable all about his terrifically theatrical background - having appeared in musicals ranging from his debut in the ill-fated MERRILY WE ROLL ALONG to his Tony Award-winning work in JEROME ROBBINS' BROADWAY to most recent role as the artistic director of LA's lauded Reprise! Theatre Company - the one and only Jason Alexander. Expounding upon his big Broadway break in Stephen Sondheim & Harold Prince's MERRILY and what it was like to witness the two titans as they developed the piece, Alexander shares his insights into the art of Broadway and also casts a glance back at his roles in Kander & Ebb's THE RINK, Mel Brooks's THE PRODUCERS and directing Sondheim‘s musicals himself (such as SUNDAY IN THE PARK WITH GEORGE with frequent InDepth InterView participant Kelli O‘Hara). Alexander also opens up about some of his most celebrated dramatic and comedic work to date - to say nothing of the iconic TV dynasty of SEINFELD, we also touch upon the TV movie musicals adaptation of A CHRISTMAS CAROL (with a score by Alan Menken & Lynn Ahrens), co-starring Kelsey Grammer, and Rodgers & Hammerstein's CINDERELLA, (with fellow InDepth InterView participant Bernadette Peters), as well as his recent appearance on HARRY'S LAW and more. Plus, Alexander outlines his featured role in the forthcoming Christopher Ashley feature film adaptation of the Ahrens & Flaherty musical comedy LUCKY STIFF, the future for a revival of the Richard Rodgers/Martin Charnin Bible-based Moses musical TWO BY TWO (co-starring SMASH's Megan Hilty once again, perhaps?) - and much, much more!

As a companion column to this weekend's extensive, exclusive InDepth InterView with Broadway and Hollywood star Patrick Wilson, today, let's take a look at twenty takes (or so) of this versatile and multi-talented stage and screen star in a vast array of impressive roles - everything from showing off his vocal chops with a live duet of an Andrew Lloyd Webber anthem from THE PHANTOM OF THE OPERA with SHAMELESS star Emmy Rossum to showing it all with a fully-bared FULL MONTY performance to trailers for some of his most impressive film performances (ANGELS IN AMERICA, LITTLE CHILDREN, HARD CANDY, WATCHMEN and INSIDIOUS among them) to his most recent work in PROMETHEUS, YOUNG ADULT and the forthcoming THE CONJURING. Plus, a charming GAP ad with Claire Danes, a hilarious College Humor Clip, the National Anthem and much, much more!

Today we are talking to one of Broadway's most remarkable breakout stars to have crossed over into Hollywood with an impressive film career following his superlative work in the Mike Nichols-directed HBO production of Tony Kushner's Pulitzer Prize-winning ANGELS IN AMERICA in 2002, the affable and incredibly talented Patrick Wilson. While looking ahead to Monday's BROADWAY BLOWS BACK benefit concert in aid of Hurricane Sandy relief, Wilson and I take a look back at his career onstage and onscreen thus far, with an emphasis on the diverse range and commendable dedication to character he has displayed since his memorable first starring roles on Broadway - from BRIGHT LIGHTS< BIG CITY to OKLAHOMA! to THE FULL MONTY, BAREFOOT IN THE PARK and ALL MY SONS onstage to his aforementioned Joe Pitt in ANGELS to roles in HARD CANDY with Ellen Page, LITTLE CHILDREN with Kate Winslet, WATCHMEN with fellow recent InDepth InterView participant Carla Gugino to last year's YOUNG ADULT and this year's PROMETHEUS, Wilson can clearly do it all. Additionally, Wilson reflects on his work with Andrew Lloyd Webber on THE PHANTOM OF THE OPERA as well as shares thoughts on other roles he would enjoy playing someday (Joe Gillis in SUNSET BOULEVARD perhaps?) and shares stories from the set of GLEE and AMERICAN HORROR STORY creator Ryan Murphy's first feature film, RUNNING WITH SCISSORS. Plus, thoughts on how Broadway has changed thus far in the new century, immediate plans for the future and much, much more!

"For the first time in its charmed, yet pitiful, existence the New Directions has lost Sectionals," and, with that, indeed did "Christmas came early for one Sue Sylvester." As GLEE gave the gift of its inimitable takes on a number of musical theatre showstoppers - among them, songs from CHICAGO, COMPANY and HALLELUJAH, BABY - to gleeks around the world with last night aptly-titled "Swan Song" episode, the Lima-based glee club that now and always acts as the focal point of the show faced perhaps its most treacherous hurdle yet - and that's not even including Sue's evil shenanigans. In NYC, the temperature rose in much the same way that it actually unseasonably happened to do in Gothan itself this week with a spectacularly sexy "All That Jazz" and some seriously stage-worthy barn-burners courtesy of "Being Good Isn't Good Enough" - recently re-introduced to the world at large by no less than Barbra Streisand in her landmark 2012 tour (as well as on her recently released cut-out compilation RELEASE ME) - and COMPANY classic "Being Alive". While next week is sure to provide all the holiday cheer a show named GLEE could possibly muster - which is a whole lot - this week's "Swan Song" reminded us why GLEE connects and continues to express an all-too-rarely explored, expressed and enacted trope of those who are involved with the performing arts: competition inspires greater dedication.

Today we are talking again to one of Broadway's recent rising stars all about his sensational sophomore solo album, STILL DREAMING OF PARADISE, as well as his role in this weekend's invitation-only reading of the new musical AMAZING GRACE - 2011-2012 season standout and JESUS CHRIST SUPERSTAR Tony Award nominee Josh Young. Espousing on the many elements that converged to make his solo album a reality, Young outlines his process with his close collaborators by discussing the imperative inspirations, subsequent arrangement experimentation, actual studio recording, scientific song selection process, major project goals and a lot more, as well as shares memories of what many of the album's tracks mean to him on a personal level and what we can expect from albums from him in the future, near and far. Plus, Young reveals his affection for his first major New York post-SUPERSTAR production, AMAZING GRACE, as he shares his enthusiasm for the daring subject, rich source material - no less than the life of controversial historical figure John Newton - and the purportedly thrilling new score composed for it and the unique and compelling tale behind it as the new musical takes this next step in its developmental process in the Lincoln Center-set industry presentation. Additionally, Young touches upon his favorite memories from the Tony Awards and participating in the Transport Group's recent concert production of BABY - and much, much more!

Today BroadwayWorld is proud to present the third and fourth world premiere exclusive songs in a month's time, following "Look At Me, I'm Sandra Dee" performed by Kitty (Becca Tobin) and the New Directions girls as well as "Look At Me, I'm Sandra Dee (Reprise)" performed by Marley (Melissa Benoist): in addition to Cory Monteith, Naya Rivera, Amber Riley, Darren Criss and the New Directions with a theatrically-attuned group reworking of the 80s Crowded House pop classic "Don't Dream It's Over", here is theatrical standard "All That Jazz" from CHICAGO courtesy of Rachel (Lea Michele) and Cassandra (Kate Hudson) from this Thursday's brand new episode, "Swan Song".

Today BroadwayWorld is proud to present the third and fourth world premiere exclusive songs in a month's time, following "Look At Me, I'm Sandra Dee" performed by Kitty (Becca Tobin) and the New Directions girls as well as "Look At Me, I'm Sandra Dee (Reprise)" performed by Marley (Melissa Benoist): following "All That Jazz" from CHICAGO courtesy of Rachel (Lea Michele)and Cassandra (Kate Hudson), here is Cory Monteith, Darren Criss and the New Directions with a theatrically-attuned group reworking of the 80s Crowded House pop classic "Don't Dream It's Over" from this Thursday's brand new episode, "Swan Song".

Over the last two weeks, GLEE has bravely taken on a catalog comprising everything from David Bowie and Simon & Garfunkel to FOOTLOOSE, PROMISES, PROMISES, the Scissor Sisters, Kelly Clarkson and fun., to say nothing of Psy's current worldwide smash hit "Gangnam Style", and, in so doing, it is clearly showing no signs of slowing down - actually, its amped up. Mashing up the New Directions of the original glee club with the new crew comprised of GLEE PROJECT winners and new faces, to say nothing of the Season Four additional storyline following the New York City-set travails of Rachel (Lea Michele) and Kurt (Chris Colfer) with guest stars Kate Hudson and Sarah Jessica Parker, both "Dynamic Duets", written and directed by co-creator Ian Brennan, and "Thanksgiving", written by Russel Friend & Garrett Lerner, directed by Bradley Buecker, also introduced anomalous themes into the GLEE universe while juggling everything else - namely: super heroes and a holiday tribute, Thanksgiving. While this week's episode was perhaps more generally amiable and appealing and certainly more successful in its overall execution and worthy place in the upper half of the episode stack four seasons in, last week packed a plosive "Pow!" of a punch insofar as its appreciable visuals and creative utilization of the tried and true tropes of comic book lore, new and old.

Today we are talking to a breakout Broadway star who has made a name for himself with memorable turns in this century's revivals of Rodgers & Hammerstein's FLOWER DRUM SONG, Stephen Sondheim's PACIFIC OVERTURES and Stephen Schwartz's GODSPELL on Broadway as well as turns in Schwartz's WICKED and Jonathan Larson's RENT in addition to his lauded work on the brand new Broadway-bound tuner ALLEGIANCE, co-starring Lea Salonga and George Takei - and, of course, his easily identifiable uniform-outfitted Warbler on Fox's hit musical dramedy series GLEE - the passionate and gifted Telly Leung! Besides taking a look back at many of his best-loved and most well-remembered roles to date, in this career-spanning conversation Leung and I also dissect the finer points of his new solo album, I'LL COVER YOU, as we look ahead to the splashy release party on December 2 at 54 Below, and he outlines his initial inspiration for the creation of it and recounts the recording process for the unique genre-crossing release. Plus, Leung generously shares some truly thrilling backstage stories involving luminaries such as Stephen Sondheim, Stephen Schwartz, Neil Patrick Harris and more as well as shares his infectious enthusiasm for future endeavors, near and far - after a well-earned vacation in January, that is. All of that and much, much more awaits!

Today we are celebrating the classic holiday-themed ballet that originally premiered one week prior to Christmas Day exactly 120 years ago, Pyotr Ilyich Tchaikovsky's THE NUTCRACKER. The ideal respite from the holiday rush, Fathom Events will be presenting the all new 3D film presentation of Tchaikovsky's THE NUTCRACKER on December 3, starring members of the very ballet company of the theater in which the fantastical family-friendly fable first debuted, the Russian Imperial Mariinsky Theatre.

Today we are talking to a recording artist whose new release, CLASSIC, virtually acts as an overview of his impressive career thus far, with its overall wide embrace of titanic vocals and big emotion while covering pop, opera, country, classical, religious themes, theatre music and more - celebrated crossover star David Phelps. In addition to all about CLASSIC, outlining its origins and creation, plus song selection process, actual recording and producing and more, Phelps also casts a glance back at his idiosyncratic journey thus far, opening up about the impetus for pursuing a life of music as well as how he has now made it a family tradition thanks to the participation of his siblings and even his daughter in a special duet on the stirring new release. Also, as well as all about CLASSIC and its current tour, Phelps cites his foremost influences, reflects on some of his favorite recordings to date, illustrates the finer points of his recording process with his collaborators, points out some of his favorite holiday song selections - and much, much more!

Today we are talking to one of Broadway's brightest new marquee names all about her Tony Award-winning work in the recent revival of WEST SIDE STORY, as well as originating roles in Lin-Manuel Miranda's IN THE HEIGHTS and BROOKLYN before that, with a special emphasis on her work in the new Manhattan Theater Club rock musical MURDER BALLAD - the engaging and emotive Karen Olivo. In this career-spanning chat, besides filling us in on the themes, style, story, music, characters, casting and overall creation of the original musical she is currently co-starring in with Will Swenson Off Broadway, MURDER BALLAD, now in previews and running through December 16, Olivo also opens up about many of her other most memorable roles in past productions, ranging from her work in the Broadway production of RENT all the way to last season's straight comedy BY THE WAY, MEET VERA STARK to her current work on MURDER BALLAD and her plans for the future, near and far. Plus, Olivo shares details about her upcoming featured role in the Lifetime Christmas-themed movie HOLIDAY SPIN, choreographed by recent InDepth InterView participant Paul Becker, as well as her long-awaited return to the hit CBS legal drama THE GOOD WIFE this Sunday. All of that, memories of legendary collaborators such as Stephen Sondheim, Arthur Laurents, Marvin Hamlisch, Kathy Bates, a preview of her upcoming robot-themed sci-fi indie RISE, details on her participation in the new FUGITIVE SONGS recording and much, much more awaits!

Today we are talking to one of Broadway's brightest new marquee names all about her Tony Award-winning work in the recent revival of WEST SIDE STORY, as well as originating roles in Lin-Manuel Miranda's IN THE HEIGHTS and BROOKLYN before that, with a special emphasis on her work in the new Manhattan Theater Club rock musical MURDER BALLAD - the engaging and emotive Karen Olivo. In this career-spanning chat, besides filling us in on the themes, style, story, music, characters, casting and overall creation of the original musical she is currently co-starring in with Will Swenson Off Broadway, MURDER BALLAD, now in previews and running through December 16, Olivo also opens up about many of her other most memorable roles in past productions, ranging from her work in the Broadway production of RENT all the way to last season's straight comedy BY THE WAY, MEET VERA STARK to her current work on MURDER BALLAD and her plans for the future, near and far. Plus, Olivo shares details about her upcoming featured role in the Lifetime Christmas-themed movie HOLIDAY SPIN, choreographed by recent InDepth InterView participant Paul Becker, as well as her long-awaited return to the hit CBS legal drama THE GOOD WIFE this Sunday. All of that, memories of legendary collaborators such as Stephen Sondheim, Arthur Laurents, Marvin Hamlisch, Kathy Bates, a preview of her upcoming robot-themed sci-fi indie RISE, details on her participation in the new FUGITIVE SONGS recording and much, much more awaits!

As a super-special companion column to this week's extensive InDepth InterView with nine-time Tony Award-winning performer/choreographer/director Tommy Tune, please enjoy this selection of the most pertinent and eye-popping moments from Tune's tremendous career, covering many of his best-loved and most fondly remembered musicals to date - among them: THE BEST LITTLE WHOREHOUSE IN TEXAS, NINE, GRAND HOTEL, MY ONE & ONLY, THE WILL ROGERS FOLLIES and more!